This film has the best "hangover" scene I have ever seen. The morning after the orgy is a must.
29 Reviews
Comedy as only the English can do them.
fester-524 September 1998
Titer ye not
no-skyline29 May 2007
Spin off from the 70's sitcom of the same name this film spins out the same gags over an hour and twenty minutes run time and gets away with it but only just. Frankie Howerd is again Lurcio the roman slave in ancient Pompeii getting involved in the evil machinations of the emperor Nero (Patrick Cargill) and the evil Brutus and his henchmen (Lance Percival).
If you liked the TV series you'll like this is the basic rule here, to a modern audience I doubt it would play well, Frankie Howerds routine is very much of it's time and place. But its very entertaining some of the gags are sign posted miles away but Frankie's personality, playing to the audience and comic timing are what make this entertaining.
The movie feels too much like a stretched out episode to be a classic like many TV shows spun off into movies in the 70's (On the Buses, Rising Damp, Porridge etc.) but its certainly worth a look for Up Pompei or Frankie Howerd fans.
Mostly funny, occasionally hilarious 7/10
If you liked the TV series you'll like this is the basic rule here, to a modern audience I doubt it would play well, Frankie Howerds routine is very much of it's time and place. But its very entertaining some of the gags are sign posted miles away but Frankie's personality, playing to the audience and comic timing are what make this entertaining.
The movie feels too much like a stretched out episode to be a classic like many TV shows spun off into movies in the 70's (On the Buses, Rising Damp, Porridge etc.) but its certainly worth a look for Up Pompei or Frankie Howerd fans.
Mostly funny, occasionally hilarious 7/10
Frankie Howerd at his cinematic best
egleg_loombucket27 June 2005
Poor Frankie didn't have a lot of luck in the world of film - making a string of Norman Wisdom type of comedies in the 50's, two Carry Ons in the sixties, and then this, the first of a trilogy of "Up..." films. This is probably his best starring vehicle. Scripted by Dave Freeman, Sid Colin and Talbot Rothwell, this, at least fairs better than the average sitcom-to-film venture; for this doesn't rely on the string of half-hour stories lifted from the television show to support the 90 mins. The reason is simple, all the writers were already experienced with writing films. All that has been lifted from the show is the majority of double entendre groan-worthy gags which, thankfully, when performed by Howerd, still raise a titter. With fine support from Patrick Cargill, Michael Hordern, Bernard Bresslaw, Hugh Paddick, Julie Ege etc. this is bound to make you laugh... even if it's just a bit.
A time capsule of suggestive humour
neil-47616 March 2010
Warning: Spoilers
There was a time when the Americans took their movies and turned them into TV series, and the British took their TV series and turned them into movies. This happened a lot with situation comedies, and Up Pompeii! was one of those.
And, as was often the case with such movies, the conversion wasn't 100% successful. The main reason, in most cases, was the absence of a studio audience, and that is certainly true here. The other reason, with specific reference to this particular comedy vehicle, is that much of the reason why the TV series worked so well, was Howerd's direct interaction with the audience.
Up Pompeii! is probably unique in terms of the way that the 4th wall is not so much transparent as completely non-existent as far as Howerd's narrator/protagonist/chorus/victim Lurcio is concerned. The events of the plot amble along and Lurcio dips in and out of them, keeping the audience in his confidence all the while - for the rest of the cast, the 4th wall is completely intact.
This conceit works brilliantly in the TV studio with a live audience, but less well, when Howerd's intimate asides are made to a movie camera and picked up by a cinema audience or, these days, a home DVD audience.
Having said that, this movie conversion, with a higher sauciness quotient than the TV series and a small amount of nudity, is a fairly happy remembrance of a unique contribution to UK screen comedy.
And, as was often the case with such movies, the conversion wasn't 100% successful. The main reason, in most cases, was the absence of a studio audience, and that is certainly true here. The other reason, with specific reference to this particular comedy vehicle, is that much of the reason why the TV series worked so well, was Howerd's direct interaction with the audience.
Up Pompeii! is probably unique in terms of the way that the 4th wall is not so much transparent as completely non-existent as far as Howerd's narrator/protagonist/chorus/victim Lurcio is concerned. The events of the plot amble along and Lurcio dips in and out of them, keeping the audience in his confidence all the while - for the rest of the cast, the 4th wall is completely intact.
This conceit works brilliantly in the TV studio with a live audience, but less well, when Howerd's intimate asides are made to a movie camera and picked up by a cinema audience or, these days, a home DVD audience.
Having said that, this movie conversion, with a higher sauciness quotient than the TV series and a small amount of nudity, is a fairly happy remembrance of a unique contribution to UK screen comedy.
Overkilling Pompeii, down with the humour.
hitchcockthelegend1 February 2010
Lurcio (Frankie Howerd) inadvertently becomes the owner of a scroll that bears all the names of Emperor Nero's (Patrick Cargill) assassins. Cue desperate attempts by the conspirators to recover the scroll while Lurcio lurches from one bad situation to another. Oh and Vesuvius is rumbling threateningly in the background.
Up Pompeii was born out of the British television series of the same name than ran from 1969 to 1975. Anyone who is familiar with the Carry On series of films will know the name Talbot Rothwell. A writer of many of the Carry On movies, he also penned the first series of Up Pompeii, and also co-wrote the second series with Sid Colin . It is Colin who wrote the screenplay for this here big screen version of Up Pompeii. So the link to Carry On, as well as Howerd who starred in two of the better movies from that franchise, is evident as much as it is important for potential first time viewers. Up Pompeii isn't any good, and this in spite of boasting the considerable talents of Howerd. It takes the Carry On formula of innuendo based farce and cram it for all it's worth. The film literally is 90 minutes of Howerd manfully making double entendre in every sketch. Which was fine for the first 10 minutes, but no matter how much sexy flesh and double takes that are crow-barred into the Roman parody mix, the joke quickly wears thin. Thinner than the slimline plot I have to say.
Saying that it's very British, and one for the Brits only, really doesn't cut it as an excuse for such pointless one trick cinema. I'm a very proud Brit myself and consider myself something of a flag waver for the best of Carry On, but this film is desperately poor and only of interest to Howerd enthusiasts {me, kind of} or those that adore lovely ladies legs {me, definitely}. But you know what,? even the red blooded male in me was dulled by the bludgeoning nature of the script. Come the merciful end of the film I was ready to be thrown to the lions as well. Incredibly the film spawned two sequels, Up The Chastity Belt & Up The Front. Now that fact is far funnier than Up Pompeii actually was. "Guards, I'm ready to fight Elsa now". 2/10
Up Pompeii was born out of the British television series of the same name than ran from 1969 to 1975. Anyone who is familiar with the Carry On series of films will know the name Talbot Rothwell. A writer of many of the Carry On movies, he also penned the first series of Up Pompeii, and also co-wrote the second series with Sid Colin . It is Colin who wrote the screenplay for this here big screen version of Up Pompeii. So the link to Carry On, as well as Howerd who starred in two of the better movies from that franchise, is evident as much as it is important for potential first time viewers. Up Pompeii isn't any good, and this in spite of boasting the considerable talents of Howerd. It takes the Carry On formula of innuendo based farce and cram it for all it's worth. The film literally is 90 minutes of Howerd manfully making double entendre in every sketch. Which was fine for the first 10 minutes, but no matter how much sexy flesh and double takes that are crow-barred into the Roman parody mix, the joke quickly wears thin. Thinner than the slimline plot I have to say.
Saying that it's very British, and one for the Brits only, really doesn't cut it as an excuse for such pointless one trick cinema. I'm a very proud Brit myself and consider myself something of a flag waver for the best of Carry On, but this film is desperately poor and only of interest to Howerd enthusiasts {me, kind of} or those that adore lovely ladies legs {me, definitely}. But you know what,? even the red blooded male in me was dulled by the bludgeoning nature of the script. Come the merciful end of the film I was ready to be thrown to the lions as well. Incredibly the film spawned two sequels, Up The Chastity Belt & Up The Front. Now that fact is far funnier than Up Pompeii actually was. "Guards, I'm ready to fight Elsa now". 2/10
Silly and dated, but not without a certain charm
Leofwine_draca16 January 2012
This silly period comedy lives or dies depending your taste for Frankie Howerd. Me, I quite like him: I love his asides to the camera, his constant exasperation, his little quips and wisecracks. Others may find his humour stale and repetitive, and they'll be in trouble because this film is the Frankie Howerd Show in all but name.
A movie version of a once popular TV series (which I never saw), UP POMPEII is a bawdy spoof of the Roman costume drama. Howerd plays Lurcio, a slave who finds himself being chased by various ne'er do wells after a mix up involving a cucumber and a scroll (no, I'm not making this up). The film is an excuse for a parade of actors to embarrass themselves or amuse the audience, depending on how much you like smutty, silly and slapstick humour, and rarely a scene goes by without a scantily clad woman in sight.
As with most British comedies of the 1970s, a lot of the fun these days comes from spotting the star. There's Bernard Bresslaw as a champion, there's Hammer starlet Julie Ege as a noblewoman. Michael Hordern is fairly good as a politician who wanders around thinking of his next speech, as is Lance Percival as the heavy constantly on Howerd's tail (oo er). Watch out for Hammer players Maddy Smith and George Woodbridge in minor roles, a bit part for Darth Vader himself, Dave Prowse, and Barbara Murray as Howerd's alluring owner.
A movie version of a once popular TV series (which I never saw), UP POMPEII is a bawdy spoof of the Roman costume drama. Howerd plays Lurcio, a slave who finds himself being chased by various ne'er do wells after a mix up involving a cucumber and a scroll (no, I'm not making this up). The film is an excuse for a parade of actors to embarrass themselves or amuse the audience, depending on how much you like smutty, silly and slapstick humour, and rarely a scene goes by without a scantily clad woman in sight.
As with most British comedies of the 1970s, a lot of the fun these days comes from spotting the star. There's Bernard Bresslaw as a champion, there's Hammer starlet Julie Ege as a noblewoman. Michael Hordern is fairly good as a politician who wanders around thinking of his next speech, as is Lance Percival as the heavy constantly on Howerd's tail (oo er). Watch out for Hammer players Maddy Smith and George Woodbridge in minor roles, a bit part for Darth Vader himself, Dave Prowse, and Barbara Murray as Howerd's alluring owner.
Lacks the lunacy of the series
zenda2 September 2000
I just watched the film version of "Up Pompeii" and, boy, was I disappointed. Many years ago, our PBS station showed the TV series on an irregular basis, and I adored it. Frankie Howerd as Lurcio, the narrator and slave of a Senator, was a riot. The swift pacing and all the double and triple entendres was a delight to watch. Obviously a rip off of "A Funny Thing Happened on the Way to the Forum", never the less, it remains one of the funniest TV series I have ever seen. The film...well, it isn't very good. The script is filled with the same type of gags, but the energy level of the film is almost non-existant. It is also a dark film, in the physical sense. Very badly lit, it appears gloomy, which isn't good for a comedy. Mr. Howerd tries his hardest, and he is still wonderfully droll to watch, but the magic of the series just ain't there.
However, since I haven't seen the series on the air for far too many years, I guess it will have to do.
However, since I haven't seen the series on the air for far too many years, I guess it will have to do.
Classic British comedy
themarzipanfiend22 January 2001
Frankie Howerd is a genius. This wonderful film is an unrealistic story of what might have happened in AD 79. A slave, Lurcio, accidentally picks up a scroll naming conspirators, and much British fun follows. This film has little storyline, and is not particularly funny, but it is worth watching for the theme song and Lance Percival's Roman General.
Silly, but likable
ahifi6 July 2009
After watching this film, I've come to the realisation that Gregor Fisher must have taken a lot from Frankie Howard for the character of Rab C. Nesbitt. The constant looks to the camera as he chums us along are great, and will keep you company through this typically sexy 70's British comedy.
The acting is good, the babes are just beautifully British (how I wish they still made 'em like that!) and the sexual innuendo will give you a good old giggle.
It's pretty meh at times but the silliness of it all makes up for it. Makes you wish you were there!
Overall, a good bit of fun to watch if you have an open mind and I imagine it would be better with a friend in tow. 6/10
The acting is good, the babes are just beautifully British (how I wish they still made 'em like that!) and the sexual innuendo will give you a good old giggle.
It's pretty meh at times but the silliness of it all makes up for it. Makes you wish you were there!
Overall, a good bit of fun to watch if you have an open mind and I imagine it would be better with a friend in tow. 6/10
Titter Ye Not!
JamesHitchcock14 June 2006
The British cinema, despite the occasional excellent film such as Joseph Losey's "The Go-Between", was generally at a low ebb during the 1970s. Even more than the American cinema, it seemed to be fighting a losing war against television. Its two main staples were the two things about which British television executives were even more censorious than British film censors and were therefore not available on either the BBC or its commercial rival ITV- sex and horror. The only British films which seemed to make any money were either Hammer horror films or smutty comedies along the lines of the "Carry On" series.
Occasionally, however, the television companies joined forces with their rivals in the cinema to produce a film version of a popular television programme. Situation comedies frequently lent themselves to this treatment. Sometimes, as with "Dad's Army" or "Porridge", the film was a fairly straight equivalent of the series it was based on, but sometimes the film-makers took advantage of the relative freedom offered by the new medium to turn the television programme into something bawdier.
"Up Pompeii", a sitcom set in the days of the Roman Empire, was a popular TV show in the early seventies. The film version follows the adventures of the main character, the slave Lurcio, as he gets involved with a plot to assassinate the Emperor Nero shortly before the destruction of Pompeii in the eruption of Vesuvius in 79 AD. Classical scholars would, of course, point out that Nero had been dead for over a decade at the time of the eruption, but this is not a film likely to appeal to classical scholars, except to adherents of that school of classical history which holds that the average Roman citizen spent most of his time attending orgies and the rest engaged in such pursuits as feeding Christians to the lions.
The name Lurcio is pronounced "Lurkio", which gives a good idea of his character (as well as showing that the scriptwriter knew something about Latin pronunciation). Most of the characters, in fact, have suggestive pseudo-Latin names which hint at their personal failings; Lurcio's master is called Ludicrus Sextus, his wife Ammonia and their children Erotica and Nausius. There is a soldier called Captain Bilius and a slave-girl called Scrubba, "scrubber" being British slang for "prostitute". The humour, like that of the original television series, is almost entirely based upon sexual innuendo and doubles-entendres, although here the sexual references are more direct and less innocent than they were on TV. The film also shows rather more female flesh than would have been permitted on television at the time.
Contrary to what is sometimes stated, Frankie Howerd was not a "Carry On" regular, appearing in only two films in that series, but his style of humour was very much in the same tradition. Like some of the more frequent "Carry On" actors, such as Kenneth Williams or Charles Haughtrey, he delivers his innuendo-laden lines in an exaggeratedly camp, effeminate manner. ("Titter ye not!") Despite this, however, and despite the fact that Howerd was gay in real life (as were Williams and Haughtrey), his character Lurcio is supposed to be a red-blooded heterosexual, always chasing after any pretty girl who takes his fancy.
I have often seen comments on this board about films from the seventies to the effect that they look "dated", largely because the clothes of that era can seem eccentric to modern eyes. Fashions in comedy, however, can change just as quickly as fashions in clothing, and outdated humour can make a film seem even more old-fashioned than can details such as platform shoes and kipper ties. This film is a good example. Although campness has not altogether died out in British comedy (think, for example, of Julian Clary), the humour of "Up Pompeii" seems very dated today. Even with such lame material, however, Howerd was always a highly professional comedian, and his timing and delivery here prevent the film from becoming totally unwatchable. This is far from being the worst British sex comedy of the seventies. For all its classical setting, "Up Pompeii" is no classic. Compared to the likes of "Carry on Emmannuelle", "Percy's Progress" or "Holiday on the Buses", however, it looks like Moliere. 5/10
Occasionally, however, the television companies joined forces with their rivals in the cinema to produce a film version of a popular television programme. Situation comedies frequently lent themselves to this treatment. Sometimes, as with "Dad's Army" or "Porridge", the film was a fairly straight equivalent of the series it was based on, but sometimes the film-makers took advantage of the relative freedom offered by the new medium to turn the television programme into something bawdier.
"Up Pompeii", a sitcom set in the days of the Roman Empire, was a popular TV show in the early seventies. The film version follows the adventures of the main character, the slave Lurcio, as he gets involved with a plot to assassinate the Emperor Nero shortly before the destruction of Pompeii in the eruption of Vesuvius in 79 AD. Classical scholars would, of course, point out that Nero had been dead for over a decade at the time of the eruption, but this is not a film likely to appeal to classical scholars, except to adherents of that school of classical history which holds that the average Roman citizen spent most of his time attending orgies and the rest engaged in such pursuits as feeding Christians to the lions.
The name Lurcio is pronounced "Lurkio", which gives a good idea of his character (as well as showing that the scriptwriter knew something about Latin pronunciation). Most of the characters, in fact, have suggestive pseudo-Latin names which hint at their personal failings; Lurcio's master is called Ludicrus Sextus, his wife Ammonia and their children Erotica and Nausius. There is a soldier called Captain Bilius and a slave-girl called Scrubba, "scrubber" being British slang for "prostitute". The humour, like that of the original television series, is almost entirely based upon sexual innuendo and doubles-entendres, although here the sexual references are more direct and less innocent than they were on TV. The film also shows rather more female flesh than would have been permitted on television at the time.
Contrary to what is sometimes stated, Frankie Howerd was not a "Carry On" regular, appearing in only two films in that series, but his style of humour was very much in the same tradition. Like some of the more frequent "Carry On" actors, such as Kenneth Williams or Charles Haughtrey, he delivers his innuendo-laden lines in an exaggeratedly camp, effeminate manner. ("Titter ye not!") Despite this, however, and despite the fact that Howerd was gay in real life (as were Williams and Haughtrey), his character Lurcio is supposed to be a red-blooded heterosexual, always chasing after any pretty girl who takes his fancy.
I have often seen comments on this board about films from the seventies to the effect that they look "dated", largely because the clothes of that era can seem eccentric to modern eyes. Fashions in comedy, however, can change just as quickly as fashions in clothing, and outdated humour can make a film seem even more old-fashioned than can details such as platform shoes and kipper ties. This film is a good example. Although campness has not altogether died out in British comedy (think, for example, of Julian Clary), the humour of "Up Pompeii" seems very dated today. Even with such lame material, however, Howerd was always a highly professional comedian, and his timing and delivery here prevent the film from becoming totally unwatchable. This is far from being the worst British sex comedy of the seventies. For all its classical setting, "Up Pompeii" is no classic. Compared to the likes of "Carry on Emmannuelle", "Percy's Progress" or "Holiday on the Buses", however, it looks like Moliere. 5/10
70's Britcom at its best (or worst)
s-dewitt4 February 2005
Depending on whether you like 70's britcom, you will either love this or hate it. For me it epitomizes a simpler era - one where sexist humor was acceptable and not everything had to be so PC. The thing it is most like is a series from the same era - the name escapes me but it had a black and white couple living next to each other with the men making snide racist comments across the garden fence, but respecting each other underneath, while the wives sat in the kitchen bitching about men over a cup of tea.
Frankie Howerd is, well, Frankie Howerd. He brings the audience right into the film acting as both lead actor and narrator. It is full of his classic one line wit which has never been emulated by anyone (some may say this is good thing, but not me; Nay, Nay and thrice Nay!). The sets were clearly done on a budget, and if you like whiz-bang special effects then forget it. This was clearly a Frankie Production.
So (in the words of jib-jab) if you are a left wing weenie, forget this film, but if you are a stupid dumb ass (like me), take a look.
Frankie Howerd is, well, Frankie Howerd. He brings the audience right into the film acting as both lead actor and narrator. It is full of his classic one line wit which has never been emulated by anyone (some may say this is good thing, but not me; Nay, Nay and thrice Nay!). The sets were clearly done on a budget, and if you like whiz-bang special effects then forget it. This was clearly a Frankie Production.
So (in the words of jib-jab) if you are a left wing weenie, forget this film, but if you are a stupid dumb ass (like me), take a look.
What? You want to see the murals???
johngraham643 September 2007
Warning: Spoilers
As a fan of Frankie Howerd and the Up Pompeii TV series in particular, I have to admit to being disappointed by this big screen outing for his character, the slave Lurcio.
A brave attempt to transfer the TV series to the bigger screen it is hampered by a lacklustre plot, a lack of the glorious puns and filth, and an entire change of cast (apart from Howerd himself).
Howerd's priceless reactions to his studio audience and comments to them had to be omitted, of course.
Lance Percival crops up in an over-the-top and unfunny role as a Roman soldier. After 5 minutes of his performance you just can't wait for the volcano to blow! Patrick Cargill hams it up as Nero. Julie Ege looks suitably Voluptuous but does little else of note. And was she dubbed???
And why does Lurcio keep turning down Scrubba's advances? In the TV series he was always after the girl, but never got her. Here she is waiting on a plate for him at any opportunity. Only at the end does he relent, and the funniest visual gag takes place as the senate disintegrates.
It's not a bad film by any means. But it cannot and does not compare to the TV series.
There are a couple of gems in it:
Frankie's disappointment at the beginning at the size of the title screen.... bigger....bigger... etc
The theme song is a hoot, sung by Frankie himself.
And Lurcio choosing the orgy girls is good for a laugh...
Watch and enjoy, then pick up the DVD of the TV series and have a much bigger laugh.
A brave attempt to transfer the TV series to the bigger screen it is hampered by a lacklustre plot, a lack of the glorious puns and filth, and an entire change of cast (apart from Howerd himself).
Howerd's priceless reactions to his studio audience and comments to them had to be omitted, of course.
Lance Percival crops up in an over-the-top and unfunny role as a Roman soldier. After 5 minutes of his performance you just can't wait for the volcano to blow! Patrick Cargill hams it up as Nero. Julie Ege looks suitably Voluptuous but does little else of note. And was she dubbed???
And why does Lurcio keep turning down Scrubba's advances? In the TV series he was always after the girl, but never got her. Here she is waiting on a plate for him at any opportunity. Only at the end does he relent, and the funniest visual gag takes place as the senate disintegrates.
It's not a bad film by any means. But it cannot and does not compare to the TV series.
There are a couple of gems in it:
Frankie's disappointment at the beginning at the size of the title screen.... bigger....bigger... etc
The theme song is a hoot, sung by Frankie himself.
And Lurcio choosing the orgy girls is good for a laugh...
Watch and enjoy, then pick up the DVD of the TV series and have a much bigger laugh.
Not a lot of funny things happen on the way to the forum.
BA_Harrison18 July 2013
Successful 70s BBC comedy series Up Pompeii gets the big screen treatment, its star, camp comedian Frankie Howerd, reprising his role as downtrodden Roman slave Lurcio, who on this occasion becomes unwittingly embroiled in a plot to assassinate Emperor Nero.
Floundering amidst a flurry of sub-par innuendo and embarrassingly poor toilet humour, even a grand-master of the double entendre like Howerd struggles to get laughs from the barrage of third rate smut that comprises the bulk of the script.
As if to compensate for the uninspired humour (which also involves the obligatory moments of lowbrow slapstick), the makers of this mess chuck in a fair amount of nudity, but although the sight of a naked Madeline Smith in the bath or a barely clothed Julie Ege is undeniably nice to look at, the film still proves a chore to sit through.
Floundering amidst a flurry of sub-par innuendo and embarrassingly poor toilet humour, even a grand-master of the double entendre like Howerd struggles to get laughs from the barrage of third rate smut that comprises the bulk of the script.
As if to compensate for the uninspired humour (which also involves the obligatory moments of lowbrow slapstick), the makers of this mess chuck in a fair amount of nudity, but although the sight of a naked Madeline Smith in the bath or a barely clothed Julie Ege is undeniably nice to look at, the film still proves a chore to sit through.
as it was back then
tlloydesq12 November 2016
Viewed through Y2K eyes, Up Pompeii is incredibly tacky with lots of weak double entendres. As Frankie Howerd would say then..."the prologue".
In the 1960s, Britain was invaded by the permissive society and a lot of barriers began to break down. British humour developed a decidedly saucy tone (which, again through Y2K eyes, was very chauvinistic). Up Pompeii was mostly written by the man who put the sauce in to the "Carry On" films – Talbot Rothwell (Sid Colin co wrote series 2). The star of the show was Frankie Howerd who was a master of the double entendre. Studios in general were getting their heads around this new business of TV. I am not too sure how seriously the acting profession took this medium.
Bringing together these elements could only lead to the sort of series which was, in the parlance of the times "naughty but nice".
Howerd plays a slave in ancient Pompeii. His master is a senator whose wife is a bit of a good time girl. The names are contortions of an understanding of Latin – Ludicrus Sextus, Ammonia, Erotica, Nausius, etc. Howerd begins each show with a prologue which is never finished. There follows a farcical story with lots of innuendo (each complete with the Howerd sideways glance - "Don't you dare" to the audience).
It's simple stuff from another era. It wasn't designed to be taken too seriously. Funnily I gather most of the cast were serious actors and I can only guess this was seen as a bit of throwaway fun. If you liked the "Carry on" movies then you will find common ground here. If you expect something a little more sophisticated then tread carefully.
In the 1960s, Britain was invaded by the permissive society and a lot of barriers began to break down. British humour developed a decidedly saucy tone (which, again through Y2K eyes, was very chauvinistic). Up Pompeii was mostly written by the man who put the sauce in to the "Carry On" films – Talbot Rothwell (Sid Colin co wrote series 2). The star of the show was Frankie Howerd who was a master of the double entendre. Studios in general were getting their heads around this new business of TV. I am not too sure how seriously the acting profession took this medium.
Bringing together these elements could only lead to the sort of series which was, in the parlance of the times "naughty but nice".
Howerd plays a slave in ancient Pompeii. His master is a senator whose wife is a bit of a good time girl. The names are contortions of an understanding of Latin – Ludicrus Sextus, Ammonia, Erotica, Nausius, etc. Howerd begins each show with a prologue which is never finished. There follows a farcical story with lots of innuendo (each complete with the Howerd sideways glance - "Don't you dare" to the audience).
It's simple stuff from another era. It wasn't designed to be taken too seriously. Funnily I gather most of the cast were serious actors and I can only guess this was seen as a bit of throwaway fun. If you liked the "Carry on" movies then you will find common ground here. If you expect something a little more sophisticated then tread carefully.
"Hey there, orgy girl!"
ShadeGrenade18 June 2012
Warning: Spoilers
I like Frankie Howerd and I like 'Up Pompeii', but I detest this horrid movie version from 1971. Directed by Bob Kellett ( who also made the film of 'Are You Being Served'? ), it is about as funny as being covered from head to foot in molten lava. Talbot Rothwell, writer of the television original, was presumably too busy working on the 'Carry On' films to pen this spin-off, so the job went to the normally reliant Sid Colin. In case you do not know what it is about, the historical farce stars Frankie as 'Lurcio', slave to 'Ludricrus Sextus' and his family - the sex-mad 'Ammonia', the sexy 'Erotica', and naive 'Nausius'. Each episode usually started with Lurcio talking to camera, about to recite 'The Prologue', only to be interrupted by a hag-like sooth-sayer with a habit of constantly wailing "Woe! Woe! Thrice woe"!. It was basically 'A Funny Thing Happened On The Way To The Forum' on a B.B.C. sitcom budget.
Colin's script is packed with jokes that would have been corny even back in the days of the Roman Empire. Alright, so Rothwell's jokes were none too fresh either, but on television you can get away with things like that. Apart from Frankie, no-one in the cast appeared in the series. Some very good comic actors - Patrick Cargill, Michael Hordern, Royce Mills, Bernard Bresslaw - are completely at sea. Furthermore, the producers ( Ned Sherrin and Terry Glinwood ) appear to have realised that because this is a film we can see lots of naked girls, hence we are treated to endless bare breasts ( including Maddy Smith's ) and buttocks ( yes, Julie Ege is around ). The net result is to negate what little comedy there is. With all the orgies and nude saunas going on, it sometimes seems that Lurcio has wandered by mistake into Tinto Brass' infamous 'Caligula' ( 1980 ).
The plot - such as it is - revolves around Lurcio stumbling across a plot to assassinate Emperor Nero, climaxing in the destruction of Pompeii when Vesuvius erupts. There is a coda set in modern times with Frankie as a tour guide showing tourists around the remains of the city. The film proved successful enough to generate two sequels - 'Up The Chastity Belt' ( 1972 ) and 'Up The Front' ( 1973 ), neither of which was particularly brilliant but managed to be far funnier. Luckily the series is on D.V.D. and I would recommend that you see that instead.
Colin's script is packed with jokes that would have been corny even back in the days of the Roman Empire. Alright, so Rothwell's jokes were none too fresh either, but on television you can get away with things like that. Apart from Frankie, no-one in the cast appeared in the series. Some very good comic actors - Patrick Cargill, Michael Hordern, Royce Mills, Bernard Bresslaw - are completely at sea. Furthermore, the producers ( Ned Sherrin and Terry Glinwood ) appear to have realised that because this is a film we can see lots of naked girls, hence we are treated to endless bare breasts ( including Maddy Smith's ) and buttocks ( yes, Julie Ege is around ). The net result is to negate what little comedy there is. With all the orgies and nude saunas going on, it sometimes seems that Lurcio has wandered by mistake into Tinto Brass' infamous 'Caligula' ( 1980 ).
The plot - such as it is - revolves around Lurcio stumbling across a plot to assassinate Emperor Nero, climaxing in the destruction of Pompeii when Vesuvius erupts. There is a coda set in modern times with Frankie as a tour guide showing tourists around the remains of the city. The film proved successful enough to generate two sequels - 'Up The Chastity Belt' ( 1972 ) and 'Up The Front' ( 1973 ), neither of which was particularly brilliant but managed to be far funnier. Luckily the series is on D.V.D. and I would recommend that you see that instead.
Reflections of a prudish cultural era.
alexandra-2529 August 2006
Up Pompeii relies on British prudishness for its humour to work. At the time of its release it was during a time of social upheaval, and people being credited as being ready for more adult humour that didn't rely on the double - entendre, but on more extreme suggestiveness, to the point of directness.
This revolutionary period of British culture, reflected by comedy reformation has culminated in a new era of comedy genius. One such genius of the moment, with a glorious career in front of him is no other than the great Russell Brand. Styling himself as a 'camp' comedian who has reinvented the Howedesque style of comedy.
Therefore, it would be most interesting to see an up-dated version of Up Pompii, with Brand playing Howard's part in it. This could come off if Brand gets his apparent yearning of a Hollywwood career fulfilled. I can't imagine what Up Pompeii would turn out like, let alone a Russell Brand influenced by Hollywood: it seems unnatural! Anyway, if you like suggestive comedy, and Roman orgies then this film could be up your street.
This revolutionary period of British culture, reflected by comedy reformation has culminated in a new era of comedy genius. One such genius of the moment, with a glorious career in front of him is no other than the great Russell Brand. Styling himself as a 'camp' comedian who has reinvented the Howedesque style of comedy.
Therefore, it would be most interesting to see an up-dated version of Up Pompii, with Brand playing Howard's part in it. This could come off if Brand gets his apparent yearning of a Hollywwood career fulfilled. I can't imagine what Up Pompeii would turn out like, let alone a Russell Brand influenced by Hollywood: it seems unnatural! Anyway, if you like suggestive comedy, and Roman orgies then this film could be up your street.
Pretty Solid, But Didn't Like It As Much As The Show
Not_An_Idiot11 May 2020
I recently watched the show, movie, and "special" one offs for this show. The show is great, and this film is worth watching. Most of the cast other than Howerd was recast. They were mostly ok, but I missed the people from the show overall. As with many movie versions of Brit shows from back in the day they rehashed a lot of identical jokes from the show, and since I'd just watched the show they fell a little flatter than they probably would have with more time in between.
It felt like something was missing sometimes too... Oh, the laugh track! People don't really do those in movies, but I think it actually detracted somehow from the movie as funny as that sounds. The movie also has outright nudity, which is fine by me, but some might not be happy about.
All in all it's still funny and worth watching, but didn't get me quite as good as the show. I'd recommend not watching them all back to back though, space it out some for better effect!
It felt like something was missing sometimes too... Oh, the laugh track! People don't really do those in movies, but I think it actually detracted somehow from the movie as funny as that sounds. The movie also has outright nudity, which is fine by me, but some might not be happy about.
All in all it's still funny and worth watching, but didn't get me quite as good as the show. I'd recommend not watching them all back to back though, space it out some for better effect!
Contains more padding than a cheap armchair!
world_of_weird23 March 2005
In the early seventies, the British film industry was in the doldrums, with many of the major backers pulling out, studios closing down and directors being poached by Hollywood, and when you look at the typical domestic product of that time, it's not at all surprising. UP POMPEII suffers from the usual problems you encounter with television spin-offs, in that it's overstretched, under-plotted, insufferably padded with tedious sequences that lead nowhere, and is considerably coarser than the original series. Sally Douglas and Madeline Smith provide the eye candy, whilst the rest of the cast ham it up and look rather embarrassed. The production values never rise far above average, and the dreadful music-hall style opening song just demonstrates how backwards-looking the worst of British comedy was during a time of supposedly all-embracing upheaval and change. Incidentally, UP POMPEII was made the same year as A Clockwork Orange, Straw Dogs and The Devils.
Only the British make rubbish like this!
johnson502 December 2003
This film is rubbish! I know - I've seen it 23 times! Perhaps you need to be British even to understand it. Just reading the names of the characters makes me smile.
The film has its origin in a British TV Series and was certainly much better in 30 minute chunks but, at least when they made the film, they took the effort to come up with a plot, puerile though it is. The cast is pretty well unchanged from the TV Series too.
Frankie Howerd (Lurcio) based his whole theatrical career on dodgy double intendres and this film is full of them. His habit of making asides directly to the audience via the camera is hilarious. In fact, most of the comedy lies in those two attributes. The visual side of the film, the physical comedy, is more or less one long chase scene with breaks and is not really that funny.
There are some very funny scenes though. The orgy and its aftermath and the wrestling match stand out. The ending is very clever too.
Worth a watch and far better than the two sequels it spawned, 'Up The Chastity Belt' and 'Up The Front'.
The film has its origin in a British TV Series and was certainly much better in 30 minute chunks but, at least when they made the film, they took the effort to come up with a plot, puerile though it is. The cast is pretty well unchanged from the TV Series too.
Frankie Howerd (Lurcio) based his whole theatrical career on dodgy double intendres and this film is full of them. His habit of making asides directly to the audience via the camera is hilarious. In fact, most of the comedy lies in those two attributes. The visual side of the film, the physical comedy, is more or less one long chase scene with breaks and is not really that funny.
There are some very funny scenes though. The orgy and its aftermath and the wrestling match stand out. The ending is very clever too.
Worth a watch and far better than the two sequels it spawned, 'Up The Chastity Belt' and 'Up The Front'.
Ridicularius
jamesrupert201431 May 2023
Much put-upon slave Lurcio (Frankie Howerd) inadvertently becomes involved in a plot to assassinate the Emperor Nero in the days leading up to the volcanic immolation of naughty, naughty Pompeii. This sniggering film-version of the eponymous TV show is essentially a string of puns, silly sight gags (usually involving genitals or other naughty bits), tit-illating glimpses of skin, and endless double entendres, buttressing a silly neo-classical sex-comedy punctuated by Howerd's constant breaking of the fourth wall. The 'adult rating' is likely more for the occasional nudity than for the humour, which is pretty juvenile and too silly to offend anyone but the most sensitive of viewers. The show is anchored by Howerd's comic-timing, facial expressions, and distinctive delivery, and for the most part, the rest of the cast exists solely to set him up. Unlike other British 'historical-farces' (Blackadder or the Monty Python films come to mind), the script is not particularly clever: character names such as 'Ludicrous Sextus', 'Nausius', 'Boobia', 'Nymphia', 'Lady Ammonia', etc pretty much illustrate the degree of 'wit' on display. All that said, the film manages to get away with being watchable, albeit low-brow, entertainment simply because it is British.
Not A Great Example Of British Humour
Theo Robertson26 February 2005
This is the film version of a well remembered British Sitcom . I say well remembered and not classic because the nudge nudge wink wink unsophisticated humour had become very outdated by the 1980s . Compare UP POMPEII with BLACKADDER ( Notably the second series ) to see where I'm coming from
Basing a film on a popular TV show can also lead to another problem : Make it similar to the original and it looks like a half hour episode stretched beyond a natural length - Change the format and characters are you're watching something unrecognisable , something the film version of GEORGE AND MILDRED suffers from . As it stands this movie feels like an overlong half hour episode from the show which means the central plot ( An assassination bid ) lacks focus . It's also British humour at its most unsophisticated with characters having names like Ammonia , Ludicrous Sextus, Scrubber and Erotica . Sad that no one thought up Biggus Dickus . There's some T&A that the original BBC show wouldn't have been able to get away with but apart from that there's little of note
Basing a film on a popular TV show can also lead to another problem : Make it similar to the original and it looks like a half hour episode stretched beyond a natural length - Change the format and characters are you're watching something unrecognisable , something the film version of GEORGE AND MILDRED suffers from . As it stands this movie feels like an overlong half hour episode from the show which means the central plot ( An assassination bid ) lacks focus . It's also British humour at its most unsophisticated with characters having names like Ammonia , Ludicrous Sextus, Scrubber and Erotica . Sad that no one thought up Biggus Dickus . There's some T&A that the original BBC show wouldn't have been able to get away with but apart from that there's little of note
This movie is better than the TV series itself!
manchester_england200414 June 2009
I know I'm going against the tide with the above heading but it accurately sums up the movie and I will put forward arguments to explain why.
Many British sitcoms were transferred to the big screen in the 1970s. The main company involved was HAMMER (famous for producing cheesy yet top quality horror movies from the 1950s to the mid-1970s). The purpose behind such ventures was to keep high-profile British film companies alive in the face of fierce competition from American and Italian counterparts as far as horror productions go. Some transfers (i.e. ON THE BUSES, STEPTOE AND SON, RISING DAMP and PORRIDGE) were successful, mainly because the characters were kept in familiar settings and situations. Whilst others (GEORGE AND MILDRED, ARE YOU BEING SERVED?) are looked upon as complete disasters, mainly because the writers took the characters outside of their familiar settings for most of the movies.
The plots of "spin-off" movies from a British sitcom usually revolved around sending the familiar characters on holiday (these movies flopped or are widely considered disastrous) or keeping the characters in their main settings and using the medium of film to expand the scope of the humour. I think UP POMPEII actually falls outside these two categories.
Indeed, I believe the UP POMPEII movie brings the Lurcio character and the Pompeii setting to life in a way the TV series never could. Upon reading other comments about this movie, I've read complaints about the sets. Well, the sets on the TV series were far worse - they looked like cardboard (no exaggeration here!). Not even Frankie Howerd could distract me from the terrible sets of the TV series. At least the movie did attempt to build some convincing sets and I thought the producers did OK given the budget.
The TV series itself was very bland and relied entirely on the late great Frankie Howerd to carry the proceedings. The supporting actors in the TV series were simply not funny. I found the TV series unwatchable when Frankie was not on the screen.
In contrast, the movie helps Frankie by giving him first-rate talent to support him in the form of Bill Fraser, Julie Ege, Patrick Cargill, Barbara Murray, Madeleine Smith and Bernard Bresslaw. Special mention should be given to Michael Hordern, whose portrayal of Ludicrus Sextus is far superior than that played by Max Adrian in the TV series. But the best supporting actor in this movie by far is Lance Percival, who really comes into his own with the Captain Bilius character. The exchanges between him and Lurcio are hilarious and had me laughing so hard it hurt! The movie is a lot bawdier than the TV series but I actually think this is the way the franchise was meant to be anyway. It wasn't meant to be just puns, double-entendres and sexual innuendos alone (we had the CARRY ON movies, the ON THE BUSES series and numerous other places to look for that), it was meant to be all of those things but also done cheekier and more direct. With that in mind, I would say that the medium of film was the best way to present the aims of the UP POMPEII franchise.
As has been mentioned before, many of the jokes are very corny but the superb delivery by Frankie and his supporting cast make them laugh-out-loud hilarious. The slapstick elements were also telegraphed well in advance but again work due to the actors involved and some excellent one liners that followed each gag.
As others have pointed out on the comments page, Frankie Howerd built a long-lasting career on a very limited repertoire. Catchphrases such as "ooh ahh", "er missus", "titter ye not" and "it's wicked to mock the afflicted" were the main scope of his acts. Yet he did it so perfectly every time that he stayed for decades whilst other comedians came and went. Also unlike the work of other comedians, Frankie's comedy was not offensive in the least, instead being just harmless fun.
This movie contains what is perhaps Frankie Howerd's best performance outside his starring roles in CARRY ON DOCTOR and CARRY ON UP THE JUNGLE. I'd go as far as to say this was his singularly best performance, period!
So if you like British comedy and want something that surpasses the blandness of the TV series, check out this movie. It's bawdier than most forms of British comedy but still inoffensive harmless fun. Give it a try. You'll probably have a good time!
Many British sitcoms were transferred to the big screen in the 1970s. The main company involved was HAMMER (famous for producing cheesy yet top quality horror movies from the 1950s to the mid-1970s). The purpose behind such ventures was to keep high-profile British film companies alive in the face of fierce competition from American and Italian counterparts as far as horror productions go. Some transfers (i.e. ON THE BUSES, STEPTOE AND SON, RISING DAMP and PORRIDGE) were successful, mainly because the characters were kept in familiar settings and situations. Whilst others (GEORGE AND MILDRED, ARE YOU BEING SERVED?) are looked upon as complete disasters, mainly because the writers took the characters outside of their familiar settings for most of the movies.
The plots of "spin-off" movies from a British sitcom usually revolved around sending the familiar characters on holiday (these movies flopped or are widely considered disastrous) or keeping the characters in their main settings and using the medium of film to expand the scope of the humour. I think UP POMPEII actually falls outside these two categories.
Indeed, I believe the UP POMPEII movie brings the Lurcio character and the Pompeii setting to life in a way the TV series never could. Upon reading other comments about this movie, I've read complaints about the sets. Well, the sets on the TV series were far worse - they looked like cardboard (no exaggeration here!). Not even Frankie Howerd could distract me from the terrible sets of the TV series. At least the movie did attempt to build some convincing sets and I thought the producers did OK given the budget.
The TV series itself was very bland and relied entirely on the late great Frankie Howerd to carry the proceedings. The supporting actors in the TV series were simply not funny. I found the TV series unwatchable when Frankie was not on the screen.
In contrast, the movie helps Frankie by giving him first-rate talent to support him in the form of Bill Fraser, Julie Ege, Patrick Cargill, Barbara Murray, Madeleine Smith and Bernard Bresslaw. Special mention should be given to Michael Hordern, whose portrayal of Ludicrus Sextus is far superior than that played by Max Adrian in the TV series. But the best supporting actor in this movie by far is Lance Percival, who really comes into his own with the Captain Bilius character. The exchanges between him and Lurcio are hilarious and had me laughing so hard it hurt! The movie is a lot bawdier than the TV series but I actually think this is the way the franchise was meant to be anyway. It wasn't meant to be just puns, double-entendres and sexual innuendos alone (we had the CARRY ON movies, the ON THE BUSES series and numerous other places to look for that), it was meant to be all of those things but also done cheekier and more direct. With that in mind, I would say that the medium of film was the best way to present the aims of the UP POMPEII franchise.
As has been mentioned before, many of the jokes are very corny but the superb delivery by Frankie and his supporting cast make them laugh-out-loud hilarious. The slapstick elements were also telegraphed well in advance but again work due to the actors involved and some excellent one liners that followed each gag.
As others have pointed out on the comments page, Frankie Howerd built a long-lasting career on a very limited repertoire. Catchphrases such as "ooh ahh", "er missus", "titter ye not" and "it's wicked to mock the afflicted" were the main scope of his acts. Yet he did it so perfectly every time that he stayed for decades whilst other comedians came and went. Also unlike the work of other comedians, Frankie's comedy was not offensive in the least, instead being just harmless fun.
This movie contains what is perhaps Frankie Howerd's best performance outside his starring roles in CARRY ON DOCTOR and CARRY ON UP THE JUNGLE. I'd go as far as to say this was his singularly best performance, period!
So if you like British comedy and want something that surpasses the blandness of the TV series, check out this movie. It's bawdier than most forms of British comedy but still inoffensive harmless fun. Give it a try. You'll probably have a good time!
A sexy comedy that has you wishing they had made more.
derbycrewe5 April 2001
Howard has the knack of knowing when to give the audience the eye, with a just perfect leer. This film is one that shows you that it is possible to break the 4th wall to include the audience in the scene. A movie any teenage boy would love and should be viewed by all the staff at "MAXIM". When the film was first shown on TV here in North America it was a little scandalous. The English were not as prudish and had more fun that way.
Lively in a strangely sedate way, all the better for it
opernerno890020 April 2005
Warning: Spoilers
This film quite simply says everything about Frankie Howard, helped by the way that it is basically him talking for a great deal of the film. the bawdiness level in this is simply outstanding, a veritable treat for anyone who feels like smirking at jokes about cucumbers and fountains with wine emanating from the member of a male statue via the manipulation of 'his' hand in the middle of a Roman orgy. The film doesn't really offer anything more than this, but then unless a lot of it has been lost the evidence shows it could never have been intended to provide any more. To say that there are acting performances in the film to criticise would be very unfair, what can be seen is that every individual aspect of the film works effortlessly to enhance the single theme, comical romping British style in Roman clothes. This it achieves wonderfully, exploiting old jokes and introducing a few new 'uns' whenever someone bothered to try. This stunning level of un-originality really is a charm, the gags are predictable and harmless but manage to sort of 'fall out' of the film as it potters along quite effectively and regularly with few lapses into 'boring farce' which wreck many similar offerings. If the film is approached sympathetically it will reward all the way until the final credits like no-other I have ever had the fortune to view.
You may have to be British to like it....
howard-453 December 2005
...as one reviewer said above "Only the British can make rubbish like this" - but what lovely rubbish. The film followed on from a very successful BBC TV series of the same name - still showing today.
It's full of "innuendo" (which American viewers may not follow) and cheeky - but like "Carry On" films that is where the charm lies. We like smutty films - where suggestion is best left to the imagination. The death knell of the later "Carry On" films was heard when they actually showed naked women on screen - it has all been good clean titillation up to then, missus! Frankie Howerd, as a veteran of stage, radio, film and TV, allowed these romps to be used as a vehicle - full of his catch-phrases, knowing nods to the audience and hidden meanings.
Guess if you don't like it - you may not be British!
It's full of "innuendo" (which American viewers may not follow) and cheeky - but like "Carry On" films that is where the charm lies. We like smutty films - where suggestion is best left to the imagination. The death knell of the later "Carry On" films was heard when they actually showed naked women on screen - it has all been good clean titillation up to then, missus! Frankie Howerd, as a veteran of stage, radio, film and TV, allowed these romps to be used as a vehicle - full of his catch-phrases, knowing nods to the audience and hidden meanings.
Guess if you don't like it - you may not be British!
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