IanPhillips Reviews

Not Without My Daughter (1991)

Controversial, Harrowing, Powerful, Edge-of-your-seat, True-Life Story

[10/10 · 6 March 2016]

Adapted from the book of the same name by Betty Mahmoody, the film was directed by Brian Gilbert, screenplay written by David W. Rintels, and filming locations ranged from Ankara, Turkey, Neve Ilan, Israel, and in Atlanta, Georgia. It's a thoroughly well-acted, very absorbing drama, shrewdly evoking the central character's escalating nightmare as she comes to terms with being held hostage by her husband and being totally powerless to do anything about it.

What alarms me more than anything is that, despite a number of reviews praising the film, one reviewer stated "Sally Field displays a lot of over-heated anguish". Is that person for real? I think the viewer is sympathetic to her ploy, as she was fooled into visiting Iran, and then was forced to conform to their culture, which is very primitive when it comes to women. Field has many scenes where she is able to show off her acting abilities and her performance never once shrinks, delivering a powerful turn, as does Alfred Molina in the less-sympathetic role.

There is a beautiful performance from a very young and gifted Sheila Rosenthal as their young daughter, Mahtob, and displays acting abilities that are incredible for her age. Inevitably, this situation she and her mother find themselves in, affects her the most being just a six-year-old girl.

I won't reveal the ending, but I can certainly say it is intense, very edgy, nail-biting stuff, which makes you incredibly nervous, and it's very well-drawn out.

Unfortunately, the film ended up being largely criticised by Iranians, who saw it as another attempt by America to shame their culture. Many critics stated it had a hidden agenda. This is simply not true. The real-life Betty Mahmoody acted as a consultant on the film, to ensure accuracy, and it is made more than clear that she saw Islam as having great beauty in it; it was just the excessively oppressive system to women she could not adapt to. Some accused this of showing all Muslims as monsters. Now, I can see why this film could be used as racist propaganda, but, I also didn't see it this way. It was telling a true story, no more, no less. For instance, without giving too much away, it is actually a group of Muslims that aid Betty in her daring escape plan; the same penalty would be handed out to these Muslims if they were caught helping her - death! Some of the Muslims in the film are shown to be warm and very gracious, so I don't believe there was any hidden agenda here. If there WAS then all I can say is wherever the eyes of the filmmakers may have been, the heart of its stars were definitely in the right place.

I also find it hard to believe that despite the harrowing tone of the film, those same critics that were mocking it stated that it is no more than an over-sensationlised, Lifetime-type TV movie; grossly inaccurate. This is far from some glossy, shallow melodrama. Yet, those with a rather closed-mind may view this as the be-all and end-all to life in Iran, which I don't believe it sets out to do.

The incidental music accompanying many of the scenes was also criticised by some, though I personally felt it helped create the intended atmosphere and tone, as well as enhance the edge of the story.

Ian Phillips

Meantime (1983 TV Movie)

One of Mike Leigh's Very Best Films!

[10/10 · 3 October 2015]

The raw, hard-hitting 'Meantime' (1983), exploring strong social and political issues of the day (mainly the high unemployment level), evokes the deep working-class despair of "Thatcher's Britain" in the early 1980's. Powerful and gritty in content, 'Meantime' shrewdly captures that era in British cultural history impeccably well. Although the film has its moments of humour, the film is overly razor-sharp and (in my opinion) ranks as one of Mike Leigh's very best films! This, of course, is also largely due to the impressive, stellar cast line-up, boasting the outstanding talents of the dynamic Phil Daniels, Tim Roth, Gary Oldman, Pam Ferris, Marion Bailey, Alfred Molina and Jeff Robert, who each possess the skill and talent of being able to improvise their scenes, proving to be highly effective in this case. The cast are all perfect in their naturalistic style of acting and carefully prepared, astutely observed and expertly structured characterisations.

'Meantime' follows the working-class Pollack family, headed by Mavis (Pam Ferris) and Frank (Jeff Robert) who seemingly have little time for their sons, the mentally-challenged Colin (Tim Roth) and ever-sarcastic and troublesome Mark (Phil Daniels). The Pollack family live on a bleak, run-down council tower block on a rough estate, having to survive on unemployment benefits. All the long, frustrating years of poverty and incessant struggling have virtually made the family give up on life. They don't live, they just exist. They have no dreams or ambitions to speak of, all content on just plodding through life in the only way they know how. Tim Roth is totally superb as Colin. Colin hadn't had much of a chance or the best start in life, having had little encouragement given to him other than by his loving Aunty Barbara. Colin had been bullied incessantly and had the mickey taken out of him all his life. He is not retarded, though, as Tim Roth points out on the interview for this special edition DVD. Rather it's a case of him being severely psychologically damaged from all the years of bullying and being ordered around by others so he doesn't know how to think for himself and gradually over the years had sank deeper and deeper into himself. It must be said that the genuine humanity of the family becomes patently clear near the ending - they all love one another, just all the long , hard years of struggling and living in the grim block of flats had obviously taken its toll, grinding all of them down.

Colin practically follows his older brother Mark (Phil Daniels) around like a loyal puppy, looking up to him and desperately wanting his friendship, love, respect and acceptance. Mark, though, sees Colin as a "muppet", makes fun out of him at every opportunity and orders him around, belittling him, yet loves and protects him at the same time. Eventually Colin befriends one of Marks mates Coxy (Gary Oldman), an even more mentally-challenged lad living on the same estate, who is a skinhead, racist and thug. Phil Daniels is, as always, brilliant in his role. In the first scene at Aunty Barbara's house, he appears completely arrogant and far from likable . Somehow, as the film progresses, you begin to warm to the character, not least down to Phil's excellent performance. You do feel hints of Marks frustration of him being unemployed and its like there's something in him that indeed does want to better himself in some way and find a way out of the dead end lifestyle he'd been living, but sadly not really knowing quite how.

Gary Oldman is also superb as the mentally-challenged and seemingly deranged skinhead Coxy, who Colin mistakenly looks up to. There's a rather off-beat scene where Coxy tales Colin along to visit his girlfriend at her flat where his behaviour becomes more unhinged than ever. There's actually very little of Alfred Molina here, who is in a less interesting role as the superficial, two-timing John. His character has little time or affection for his increasingly frustrated and suppressed wife Barbara. The most touching (and my favourite) scenes are at the end of the film where Colin returns home to the flat after running out of Barbara's, wearing his parka jacket with the hood up; his parents shout at him and Mavis goes to clout him round the ear but Mark intervenes and protects him. Then much to all of their shock, Colin, uncharacteristically, stands up for himself, shouting back at them. From that point on a mutual respect and a deeper bond between Mark and Colin emerges, and they have a heart to heart while Mavis listens from outside the bedroom door and afterwards she (inadvertently) shows she does have feelings. The next morning Mark discovers Colin's skinhead (hence why he slept all night in his parka jacket with the hood up) and jokingly nicknames him Kojak - but this time, and unlike before, he's laughing with him not at him.

'Meantime' is a true British classic and an interesting social document of its time. Utterly compelling from start to finish, not letting your attention lapse until the credits roll, this is a thoroughly absorbing, gritty drama with a top-notch, impressive cast. A pure masterpiece!

Ian Phillips

Carry on Matron (1972)

The Fourth And FInal Medical Caper In The Carry On Series

[8/10 · 8 August 2015]

The medical-based Carry On films always proved to be popular in the series. Carry On Nurse (1959) had topped the British Box Office charts and, surprisingly, even reached the top in America and ran in some cinemas for over two-and-a-half years. Carry On Doctor (1967) was virtually an updated re-make 'Nurse' and became a huge hit too. I have to say Carry On Again Doctor (1969) is my own personal favourite medical caper in the series, though Carry On Matron does come a close second.

In 1971 producer Peter Rogers and director Gerald Thomas decided a return to a hospital setting was what the series needed to recover from the commercial failure of Carry On At Your Convenience. 'Matron' (1971) was made when the series was nearing its peak. The storyline actually had a little more structure to it than previous medical titles in the series, and this gave it a focus.

Sid (Sid James) and his reluctant bunch of petty crooks (Kenneth Cope, Bernard Bresslaw and Bill Maynard) plan to rob a maternity ward of fertility pills that are worth millions abroad. They send in Kenneth Cope in drag posing as a trainee nurse. His identity is soon discovered by Nurse Ball (Barbara Windsor) and very soon they become lovers. It's all the usual predictable gags and corny old British jokes but there is something about the cozy little world of the Carry On's that remains refreshingly timeless.

The formidable Hattie Jacques takes the title role as Matron, who plays this more gently than the usual ferocious stereotype as seen in 'Nurse' and 'Doctor', and brings warmth, likability and grace in to her performance. Matron is in love with Dr. Bernard Cutting (Kenneth Williams) and by the end of the film the pair marry. The on-off affair of Kenneth Williams and Hattie Jacques had emerged in previous entries in the series ('Doctor' and 'Camping') and finally it was concluded in this 'Matron' when they finally made it to the altar. These stalwarts of the series share some classic, delightfully funny scenes.

Kenneth Williams is often hilariously over the top, flamboyant and his usual pompous, supercilious figure of authority, whose blatant paranoia causes much amusement as he fears he may be turning into a woman. So he sets out to woo Hattie Jacques in order to prove his "manhood". Classic stuff! Joan Sims turns up in a lovely cameo here, playing an over-expectant mother who spends all her time in bed, constantly eating and flatly refusing to induce labour. Kenneth Connor plays the impatient father-to-be who spends most of the film pacing up and down in the waiting room shouting orders and being his usual bundle of nerves.

Terry Scott plays the ever-randy doctor, a part that was similar to the character Jim Dale used to play in the previous two medical titles, although less is actually less likable (despite being excellent in other Carry On's)/ He pursues Kenneth Cope relentlessly, not realising that he is in fact a man and not the nurse hes posing as.

The overly effeminate Charles Hawtrey breezes in throughout the film and is as hilarious as ever, although we don't get to see nearly enough of him. His comic partnership with Kenneth Williams is priceless! Check out the scene when Williams begins chasing Hawtrey around the desk! The rest of the cast all get their moments with Sid James playing his usual rogue-like self, yet is calmer than usual (and better for it), Barbara Windsor being as bubbly and lovable as ever, Bernard Bresslaw again playing Sid James dopey sidekick, Patsy Rolands taking a minor supporting role as Kenneth Williams secretary and Jaki Piper playing a young nurse (her last Carry On role).

Carry On Matron is consistently funny and develops well to a fun climax. The scene where the ambulance crashes through into the hospital is actually quite amusing despite its silliness. If you're a fan of this genre of comedy, you'll love it.

Ian Phillips

Carry on Up the Jungle (1970)

A fun, classic Carry On!

[7/10 · 7 August 2015]

Following the hilarious medical caper Carry On Again Doctor (1969) (one of my own personal favourites in the series), the merry old Carry On gang retreated to another historical theme for what was the last Carry On film of the swinging sixties (which was the decade that the series was in its prime), Carry On Up The Jungle (released in early 1970). Although some don't hold 'Up The Jungle' in high regard, I personally really like it. True, it's not as inventive as the likes of 'Up The Khyber' or 'Cleo', but viewed on its own merits, it is still a worthwhile and enjoyable film.

Carry On Up The Jungle predictably runs through all of the familiar gags and double entendres that we've heard several times before in other Carry On films, but it's the lovable performances of main players that ignite 'Up The Jungle' into such a wonderful film (not to mention spot-on direction from Gerald Thomas, aided by the always excellent production skills of Peter Rogers). Yes, it's cheap and cheerful, but it does what it sets out to do: to entertain and make you laugh.

In his second and final Carry On, Frankie Howard gets top billing, starring alongside regulars' Sid James, Joan Sims, Kenneth Connor (making a return after a six year break), Bernard Bresslaw, Terry Scott and Charles Hawtrey. The gang find themselves "carrying on" through the darkest parts of Africa, each character having their own reasons for joining this expedition: Professor Indigo Tinkle (Frankie Howard) and Claude Chumley (Kenneth Connor) are in search of the rare oozalum bird; Bill Boozey (Sid James) is a relentless hunter, simply along for the fun and adventures it would seem, while the glamorous Lady Evelyn Bagley (Joan Sims) is in search of her long lost son that she lost over twenty years ago in the jungle where she and her husband had been honeymooning. June (Jaki Piper, a delightful addition to the cast in her first Carry On) is along for the ride as Lady Bagley's faithful assistant, where as Upsidasi (Bernard Bresslaw) leads the gang through the jungle (the entire film was in fact filmed at Pinewood studios as the Carry On films were renowned for their cheap and cheerful shoestring budgets - even so, it all sort of adds to the fun and the cast make you believe they are in a real jungle).

Along their madcap safari adventures they encounter a Tarzan-type figure, Jungle Boy (Terry Scott) who, in a hilarious twist to the (rather thin) plot is revealed to be none other than Lady Bagley's long-lost son. Jungle Boy also quickly succumbs to the-not-as-innocent-as-she-seems June and they rapidly become lovers. The romantic scenes between the lovely Jaki Piper and great comedic skill of Terry Scott are played out beautifully.

The gang eventually find themselves kidnapped by cannibals (known as the "Noshers" - yes, the humour isn't so subtle) and as it appears as though they are all about to be dropped into a cauldron full of boiling hot water ready for the blood-thirsty tribe to eat, they are rescued by an all-female tribe headed by the formidable Leda (Valerie Leon). After what seemed a lucky escape, they then find themselves being held captive by them as the men of the group are forced to attend mating ceremonies with some of the more unattractive women of the tribe.

Leader of this all-female tribe, known as the Lubba Dubby's, is Tonka The Great (Charles Hawtrey) who in yet another laughably obvious twist to the plot, turns out to be Lady Bagley's (Joan Sims) long-lost husband whom she had presumed was dead years ago thinking he'd been eaten by a crocodile during their honeymoon (it turns out he'd been languishing in the company of the Lubba Dubby's for all those years). Eventually they escape before Professor Ingio Tinkle (Frankie Howard) and Claude Chumley (Kenneth Connor) find their prized oozalum bird (only to have it stolen again) and they all return to civilisation.

'Up Pompei' star Frankie Howard as Professor Indigo Tinkle breezes into the whole Carry On phenomenon as though he'd always been part of the gang, where as head of the Carry On family, Sid James, beefs up his usually likable, roguish, womanising character to great effect as the appropriately named Bill Boozey.

Joan Sims shines as Lady Eveleyn Bagley in one of her most lengthy roles in the series, while the effeminate and ever-eccentric Charles Hawtrey is just simply hilarious as the mincing Tonka The Great. Terry Scott takes on the role as Jungle Boy (which had actually been written with Jim Dale) which he makes his own, while Kenneth Connor plays the jittery, bumbling Claude Chumley in his own inimitable style. Completing the cast are Bernard Bresslaw who is amusing as the blacked up Upsidasi (very politically incorrect nowadays, but remember this was 1969), Jaki Piper playing June delightfully and finally Valerie Leon as the formidable Leda of the Lubbi Dubby's, in her best Carry On role.

Though Carry On Up The Jungle (1969) is missing Hattie Jacques, Barbara Windsor and Kenneth Williams, the film manages to stay afloat and emerges as yet another classic in the series. Some scenes are a little slow and tedious but over-all Carry On Up The Jungle is an enjoyable comedy that's most definitely worth a look and will undoubtedly satisfy any lover of the genre. Recommended!

Ian Phillips

Carry on Girls (1973)

The 25th Carry On Film...

[7/10 · 6 August 2015]

Carry On Girls (1973) was the 25th entry in this staggeringly long-running British comedy film series. Many don't seem to hold 'Girls' in much regard, but I really like it. The Carry On's were beginning to slide in popularity at this stage; whereas at one stage at least two or three Carry On films were made per year, by 1973 the production rate had slowed down to just once a year.

Charles Hawtrey (who had been disposed of after his drunken antics on the Carry On Abroad set and after continual disagreements with producer Peter Rogers over wanting his name elevated above the title which no Carry On star was ever rewarded), Kenneth Williams and the formidable Hattie Jacques are all sorely missed, but there is surprisingly enough fun, laughter and games to enjoy throughout.

In 'Carry On Girls', the typically thin plot is centered around a tacky, end-of-pier beauty contest which immediately faces opposition from the town's women's lib action group, led by Councillor Prodworthy, played marvelously by June Whitfield. Sid James organises the contest and lets the girls (which includes Margaret Noland and Wendy Richard) stay at the hotel run by his girlfriend, Chloe (Joan Sims) for free! Sid's eye soon strays onto the bubbly Barbara Windsor whom arrives on a motorbike in complete tomboy mode, yet reveals a far more glamorous, feminine side when taking part in the first promotional photo shoot.

The film's climax is where it really scores best with the beauty contest ending in complete disaster. The girls costumes are all laced with itching powder, the floor is made slippery leading the contestants to tumble down on to the stage and to top if off Councillor Prodworthy turns on the sprinklers that soaks the entire audience. This is followed by a fun go-kart chase as Sid James flees all of the enraged customers who all demanding their money back after having been soaked in the theatre. Barbara Windsor is hot on Sid's trail on a motorbike. The last scene sees Sid James and Barbara Windsor riding merrily along a motorway on Barbara's scooter. Silly but great fun.

The cast are all on top form, though any scene which Sid James and Barbara Windsor share raises a smile and a laugh with their undeniable chemistry shining through. This is really Sid and Babs film.

Yet again, Joan Sims is underused and unfairly pigeon holed into a supporting performance which she plays straight and efficiently, where as Kenneth Connor plays the town's bumbling Mayor, a blatantly incompetent and pompous figure whom causes some amusement though is mainly the butt of a joke. Playing opposite Connor, and inadvertently stealing any scene she's in, is Patsy Rolands, whom has a far meatier part in this Carry On and comes into her own. She plays the Mayor's frustrated and down-trodden wife to utter comic perfection and her character rebels in the end joining forces with June Whitfield's team of women's lib group.

Lovable giant, Bernard Bresslaw pops up as Sid James sidekick in organising the beauty contest. The scenes where he dresses in drag, deliberately to attract attention from the media in a bid to drum up publicity and generate interest in the contest, are quite hilarious! The sultry Valerie Leon plays his dowdy fiancé who reluctantly ends up joining the beauty contest in the end and is transformed into the glamorous and stunning beauty she always truly was/is. For some odd reason, however, all of Valerie Leon's lines are dubbed over by June Whitfield! Bizarre! Then there's Jack Douglas bubbling away in the background as the hotel porter, William. His nervous twitching is something of an acquired taste, and while Douglas is clearly a talented performer who fit in nicely in the 70s Carry On's, it can become tedious and just annoying at points.

All told, I definitely consider 'Carry On Girls' a classic entry in the series and a highly enjoyable one at that.

Carry on Again Doctor (1969)

My favourite of the medical Carry On's

[8/10 · 6 August 2015]

Although some may beg to differ, I find Carry On Again Doctor to be the funniest of the medical-based in the series. There is more structure to the plot than there was in the earlier Carry On Doctor. The film being divided into three sections works very well as this actually makes it feel as though there is a beginning, middle and end of a story.

Most of the same actors that were used in Doctor (1967) crop up in this entry, some playing almost identical characters, others completely different. Jim Dale, for instance, virtually resurrects his accident-prone but well-meaning character from 'Doctor', although here he is named Dr. Jim Nookey. Kenneth Williams is as supercilious as always, although his character displays more of a sense of humour than usual. Even so, he is typically snide and as self-serving as his part in 'Doctor'. Joan Sims proves that, when called for, she can be sexy and glamorous, and it's nice to see her in a role where she isn't pigeon-holed in the battle-axe character she would often play. Charles Hawtrey is hilarious in drag, Sid James (who is not introduced until at least half way through the film) is in one of his most unusual roles, and Hattie Jacques, yet again reprises her familiar role of the Matron,though is more gentle in here, conveying a warmth in her character that was absent from her part in 'Doctor'. Then of course we have the bubbly Babara Windsor, whose character Goldie Locks quickly catches Jim Dale's roving eye. Their romance provides a nice sub-plot.

Carry On Again Doctor, on the whole, plays very well. Whilst seemingly settling down as a hospital based comedy, the first 15 minutes or so seeming like 'Carry On Doctor 2', the film then wildly steers direction when Dr. Nookey (Jim Dale) is sent out to the Beatific Islands on a medical mission and discovers a special weight-reducing potion. Once back in England, he opens a new clinic for women who wish to lose weight. Then the film settles down and sees its last half hour almost encapsulate the feel of a regular TV sitcom with the weight reducing clinic scenes, with the likes of Joan Sims and Charles Hawtrey (hilariously in drag) staying for full treatment.

Following on from 'Up The Khyber' and 'Camping', both of which were landmarks in the series, this ranks as one of my own favourite Carry On's. The dialogue sparkles along with fast, witty dialogue, and there are some impeccably timed performances from virtually all of the regular cast - Jim Dale, Joan Sims, Kenneth Williams, Charles Hawtrey, Sid James, Babara Windsor, Hattie Jaques and Patsy Rolands. It generally captures the true spirit of the Carry On's, yet somehow stands out as quite a unique entry in the series. Certainly many laughs to endure and is a must-see for fans. Generally a recommended comedy all round. A classic!

Ian Phillips

Carry on Abroad (1972)

One of The Best Carry On films

[9/10 · 20 July 2015]

Carry On Abroad stands as one of the best Carry On films. All of the team's favourite regulars are here, as well as some welcome guest stars, making for one of the largest casts put together in a 70s Carry On film. The usual batch of players that are present, and clearly on good form, are Sid James, Joan Sims, Kenneth Williams, Peter Butterworth, Charles Hawtrey, Barbara Windsor, Hattie Jacques, Kenneth Connor and Bernard Bresslaw. They are joined by Scottish comedian Jimmy Logan and a whole host of other familiar TV stars of the day, such as June Whitfield, Ray Brooks, Carol Hawkins, Derek Francis, Patsy Rolands, Sally Geeson and John Clive.

Vic (Sid James) and Cora Flange (Joan Sims) join a pack of tourists on a package holiday deal to the Island of Elsbells. Vic's plans had already been scuppered as the holiday was originally intended to be a dirty weekend with his mistress, Sadie Tomkins (Babara Windsor), but all plans were thwarted after Cora (Joan Sims) decided she'd like to go on the holiday as well to keep a firm eye on her straying husband. Once all the tourists arrive at their destination, they are astounded to discover that the hotel is only half built and there are no more than three staff members (Peter Buterworth, Hattie Jacques and Ray Brooks). From there follows several comic mishaps that are all as predictable as ever yet remains a thoroughly entertaining watch. There's great fun to be had especially when the gang get arrested and end up spending a night in jail, following a fight that occurred outside a brothel. But it's the classic ending where the film really scores best as the hotel slowly begins collapsing around their ears. Only problem is, everyone is too drunk and feeling too amorous to even care. Peter Butterworth manically runs around trying to get everyone to vacate the building but his efforts fall on deaf ears. The film has a happy ending and the fun sequence where the gang are all reunited and decide to have a lock-in at Vic and Cora's pub is one of the best endings in a Carry On film, firmly holding onto that fine, feel-good spirit which would slowly dissolve from here on.

The cast are all on usual form, though Peter Butterworth and Hattie Jacques are, perhaps, the best players here. They make a Laurel and Hardy-like duo and Jacques in particular is in an unusual role, playing a Spanish, downtrodden and utterly demented, cook. The rest of the cast certainly get their moments including Joan Sims in the hilarious umbrella sequence where she and Sid James are suddenly soaked from the roof collapsing during the storm of the last night just when they were planning a bit of "nookie". Priceless stuff! Kenneth Williams and Charles Hawtrey hilariously mince around during the majority of the film, putting in their more familiar characterisations, while Jimmy Logan is a welcome addition to the cast who provides sparkle in every scene he's in.

All in all, Carry On Abroad was one of the last true great Carry On's. The series was on a slippery slope now and this would also be the last to feature Charles Hawtrey - a much loved regular in the series. Carry On Abroad was one of the greatest of all the 1970's Carry On's and proved to be another big smash hit at the Box Office. Great fun! Recommended.

Ian Phillips

Carry on Behind (1975)

Highly underrated Carry On film!

[7/10 · 20 July 2015]

A group of imminent archaelogists, led by the stuffy Professor Roland Crump (Kenneth Williams) and the more fun and liberated Professor Anna Vooshka (Elke Sommer), are in search of an old Roman town that is thought to be lying underneath a holiday caravan park.

Scriptwriter Dave Freeman was drafted into the fold (replacing Talbot Rothewell) having already worked with producer Peter Rogers and director Gerald Thomas on the 1972 film version of the hit ITV sitcom, Bless This House. Dave Freeman's windy, sparky and far bluer dialogue was more risqué, a trend that had started to emerge in the 1970s Carry On's. The jokes and endless gags all overflow on smutty innuendo and double entendres, even though Freeman was in fact attempting to vaguely recapture the spirit and flavour of 1969's classic (and more innocent) Carry On Camping.

Times had certainly changed since then with all sorts of ludicrous sex comedies scoring high at the Box Office, like the dreadful Confessions Of A... films and the even worse Adventures Of A... series, all of which seemed pretty lame stuff when compared to the sparkling, feel-good factor of the Carry On's. However, by 1975 the Carry On's were suddenly seeming a little out of place and somewhat dated in comparison to the more explicit sex comedies that were roaming around.

Yet, thankfully, 1975's Carry On Behind still comes out a winner, even if it did fare disappointingly at the Box Office. It's missing several of the regular stars, but an injection of new faces keep things fairly fresh, with the likes of Carol Hawkins (who had previously starred in 1972's Carry On Abroad) and Sherrie Hewson providing the eye candy for the men, while Adrienne Posta and Ian Lavender (star of the BBC sitcom, Dads Army) star as a married couple on their annual holidays.

Surprisingly, it's international film star Elke Sommer who receives top billing, pipping Carry On lifer Kenneth Williams to the post. Her wonderful performance is always impeccably timed and tossing in delightfully fractured English comments that becomes the foil of each scene she shares with Kenneth Williams. Both stars seemingly spark off one another.

Kenneth Williams is the typically snide, arrogant and campy Professor Roland Crump. If you were to delve into Kenneth Williams famous Diaries that were published shortly after he allegedly commit suicide in 1988, you would be a little startled to learn (I certainly was) that Williams had grown very unhappy with the Carry On series over the years, feeling they had hindered his acting career in finding more serious, challenging roles. You really can't detect that animosity when you view Williams performance in Carry On Behind (even though he declared this to be the worst in the series at the point of filming) as he goes through the motions with seemingly effortless energy, delivering on the whole, a fine comic turn.

Bernard Bresslaw stars as Arthur Upmore who is on his annual holiday with his wife, Linda (Patsy Rolands), and whom bares the burden of having to bring his interfering, dragon-like mother-in-law (Joan Sims) along. Bresslaw's performance seems to be on auto-pilot a little, although he does have his moments, while Patsy Rolands bubbles along nicely in the background in a fairly minor supporting turn.

Joan Sims also seems to be on auto-pilot (at least for the duration of the first half of the film), though manages a few witty lines to deliver. As the film draws on, however, her character reveals a far softer side when she is unexpectedly reunited with her long-lost husband, Henry (Peter Butterworth) whom had been working at the caravan park as an "odd job" man for the past twenty years. The scenes in which Sims and Butterworth are re-acquainting themselves in the caravan are actually quite touching, delivered beautifully by these two stalwarts of the series and containing a real, poignant edge.

Peter Butterworth as Henry Barnes practically turns in a re-creation of his stingy, scavanging character Mr. Fiddler in the more famous Carry On Camping for this film, and his performance is top notch as always. Another stalwart of the series, Kenneth Connor gets the occasional chance to shine as the sexually repressed and ever-randy caravan site owner, Major Leep.

The pairing of Windsor Davies as Fred and Jack Douglas as Ernie is a slightly pale reflection of the dynamic teaming of Sid James and Bernard Bresslaw in Carry On Camping with just a few variations. Again they are the stereotypical middle-aged married men looking for extra marital activity whilst their wives (Liz Frazer and Patrica Franklin) are blissfully ignorant of their husbands intent, believing they are going on a "fishing" trip.

The pace and energy of the Carry On films was slowing down considerably now, though Carry On Behind stays afloat with some fine performances and hilarious (even if predictable) situations that makes this one of the classics in the series and indeed the last watchable of the series (subsequent entries Carry On England (1976) and Carry On Emamanuelle (1978) are probably best forgotten).

There does seem a lack of real interaction with the cast until the ending when Jenny Cox turns up (typically through a comic misunderstanding) at the caravans club/bar on the final night of the holiday performing a raunchy strip tease. It is at this climax that the film really scores best. And the film ends firmly retaining that feel-good factor that the Carry On's were always renowned for; sadly a last hurrah for the series.

Ian Phillips

Scum (1979)

Ray Winstone Is Still The "F****** Daddy!"

[10/10 · 5 July 2015]

'Scum' (1979) may now be over 30 years old, but its power, notoriety and shock factor certainly hasn't dwindled! Nor has its wide spread appeal. Films like 'Scum' are just timeless in their power! This totally harrowing, often stomach-churning drama, is a commendably daring (but then again its not really daring when you are merely depicting the truth - no matter how grim or appalling) and unflinching look at life inside a boys juvenile centre (otherwise known as borstal).

Extremely edgy, startlingly powerful and shocking, 'Scum' depicts brutal violence, racial prejudice, homeosexuality and sexual abuse in an unflinching way that hits you right between the eyes! Not comfortable, easy viewing by any means. At times, you could easily forget your watching what is a superbly made drama, and think you are viewing a fly-on-the-wall documentary as it has that in-your-face, stark effect! You really will not be able to take your eyes off this stuff - if you enjoy being kept on the edge of your seat and being continually shocked then 'Scum' is definitely the film for you! The brutally stark realism in Ray Minton's screenplay is richly complemented by razor-sharp direction from the innovative, award-winning Alan Clarke (one of his few feature films as he mostly worked in television).

The ever-excellent Ray Winstone excels in the lead role as tough-boy Carlin. The role seems as though it was tailor made for him! Watching Ray Winstone stride confidently with that air of authority through the grim corridors of the borstal with that famous "Don't f*** with me" look on his face that Ray is renowned and legendary for, you do get the immediate impression that he didn't have to do much acting to convince you that he's not a man to be messed with! Ray breezes into the role naturally, though on the audio commentary of the DVD he credits this to director Alan Clarke.

Carlin (Ray Winstone) had ended up in a juvenile centre after being convicted of petty theft. He had been transferred to the borstal after defending himself against a vicious prison officer that had been kicking and beating the living daylights out of him! At first Carlin keeps his head down, wanting to serve his time as quickly and quietly as possible. Unfortunately the "daddy" on the wing has other ideas for Carlin. During one night in the crowded dormitory, the "daddy" and his gang of no-hope bullies give him a brutal beating. Carlin is visibly bruised all over and for this he ends up on a charge for fighting and serves 3 days in an isolation block! Having had plenty of time to brood whilst locked away, Carlin soon realises its time to assert himself in order to survive.

Some of the most violent moments in 'Scum' occur during recreation period, when Carlin stuffs a few snooker balls into a sock. With it tightly clenched in his fists, Carlin strides casually over to Richards (played by the superb Phil Daniels) and at full force, literally wraps it around Richards face and head, then gives him a good few kicks where it hurts! Casually again, Carlin strides off, places the snooker balls back on the table , glances at the bemused prisoners playing snooker and calmly says "well, carry on then" and then goes and hunts down the "daddy". He is found in the washroom, washing his face. Carlin wastes no time and grips hold of the so-called "daddy" by his head and continually smashes his face into the sink, cutting half his face open. It is then that Carlin utters those legendary words most associated with the film: "I'm the f***** daddy round here now!". Yes, it's all nasty, stuff yet riveting at the same time. It's due to Alan Clarke's astute, street-smart direction that gives the film that docudrama-like sharp edge.

The excellent Phil Daniels is particularly scary and menacing as the notorious bully, Richards, while Mick Ford is endearing as Archie. The refined but troublesome Archie thoroughly enjoys rebelling against all rules of the system and making life as difficult as possible for the corrupt, violent prison officers. Claiming to be a vegetarian (though he really isn't!) he refuses point blank to wear any leather shoes, having to have plastic shoes tailor-made for him, much to his amusement and their annoyance, refuses to attend chapel on a Sunday, much to the frustration of the deeply religious governor and is something of a philosopher (something else he enjoys annoying the "screws" with). A sensitive side to the character is shown in a touching scene where he takes the time to read to an illiterate boy all of his parents letters to him. Its a role Mick Ford plays with conviction, sensitivity and intelligence.

In a more gentle role is Julian firth Davis as the niaeve, vulnerable Alrick Riley, who has "victim" written across his face. He quickly becomes an easy target for the bullies, though is taken under the wing of Carlin. It has to be said that Julian Firth Davis is involved in what is easily the most harrowing scene of "Scum" when he is sexually abused and assaulted by 3 other prisoners. And the climatic riot scene is all visually powerful stuff!

"Scum" is outstanding in its direction, acting and screenplay and firmly stands a good head and shoulders over many British films today.In fact "Scum" is unparalleled! Its a film that immediately draws you in, not letting your attention lapse until the credits roll. Over 30 years on, it stands as a riveting, uncompromising look at life inside a borstal and is truly an out and out masterpiece.

Carry on Loving (1970)

Dated but fun and underrated Carry On!

[7/10 · 5 July 2015]

Though variable in quality and quite dated, Carry On Loving hit contemporary times perfectly in this mildly risqué offering. Here the team are entering into the spirit of more liberal times, something director Gerald Thomas and producer Peter Rogers intended to loosely draw upon.

Carry On Loving is similar in content to an earlier addition in the series, 'Regardless' (1960), with a series of sketches, all connected a to a fraudulent dating agency, run by Sid James and Hattie Jacques. Their characters, Sid and Sophie Bliss, are a couple who pretend they're married as a ploy to make their shoddy dating agency look more genuine than it actually is. They have a wide variation of clients on their database such as a bachelor who just so happens to be a marriage guidance councilor who is seeking a girlfriend, and a young, naieve man who's desperate to lose his virginity.

Some may argue that the formula of the Carry On's was beginning to wear a little thin at this stage, but despite a few nondescript scenes where the pace becomes a little tedious on occasions, it is overall highly entertaining, ending with a fun cake fight scene where the cast are all gathered together in one big mass ceremony finale that, despite its lack of originality, makes for a classic ending.

Some of the regulars on show in this offering are looking a little older now, while some are unfairly restricted to minor supporting turns. Sid James is basically Sid James, beefing up his usual masculine charms on any woman that takes his fancy (mainly Joan Sims), while Hattie Jacques, who always brought a sense of grace with her inimitable characterisations, plays his pretend wife, Sophie, and shares some sparkling scenes with both Sid James and Kenneth Williams.

Joan Sims is unfairly pigeon-holed in a supporting though effective role as the amorous spinster, Esme Crowfoot, who lives in the constant shadow of her fierce partner, known as Gripper Burke (as he's a wrestler). Joan Sims shares some fun scenes with Sid James and has one hysterical one with Kenneth Williams towards the climax of the film.

Kenneth Williams is another stalwart of the series who is (surprisingly) restricted to a supporting role as the typically pompous yet inefficient marriage guidance councilor, Percival Snooper. His superior demands for him to become married after a series of complaints from his clients who all believe he knows nothing about married life (which is evidently true). He quickly succumbs to the advances of the formidable Hattie Jacques.

Charles Hawtrey turns up as a private investigator, hot on the trail of Sid James following Hattie Jacques suspicions of his shady relationship with Joan Sims. While he is as amusing as always he is also given limited screen time and doesn't feel like a real participant in the film, having very little interaction with any of his fellow Carry On colleagues.

Terry Scott, who had appeared in various Carry On entries, plays Terence Philpott, an accident-prone man with a youthful innocence, resurrecting a role that was seemingly tailor-made for Jim Dale. He gets to play some great scenes opposite Imogen Hassall whom is wonderfully transformed from dowdy into a luscious beauty. The scenes they share when Terry Scott goes to visit her for the first time at her family's stately home are of significant comic value and Joan Hickson turns up in a fantastic cameo here, playing the stern, no-nonsense mother. There's also the fun sequence of the two trying to enjoy a quiet night in together but are continually disturbed by the rest of his girlfriends flatmates and their trivial domestic matters.

Jaki Piper, who had previously starred in 'Up The Jungle', plays a model who, through a comic misunderstanding, ends up meeting and falling in love with the dopey and accident-prone Richard O' Callaghan. Their is some nice scenes between the two as their romance steadily builds up.

Other Carry On players that show up include Bernard Bresslaw as the manic wrestler, Gripper Burke, and also a great role here for Patsy Rolands who sparkles in all of her few number of scenes as the dowdy housekeeper of Percival Snooper (Kenneth Williams). Feeling threatened that her job will come to an end after Percival announces to her that he will be marrying Sophie Bliss, she hilariously does her very best to split the two up after it becomes blatantly obvious that she is in fact in love with him herself. The transformation of her from dowdy to glam is fantastically played by Patsy Rolands in possibly her best role in a Carry On film.

Though by no means is this one of the best, but Carry On Loving, overall, is still definitely worth a look and really captures a certain era (the dawn of the swinging seventies) impeccably well. It's just a shame that this film is so underrated.

Ian Phillips

This Is England (2006)

Shane Meadows' best film to date

[10/10 · 4 July 2015]

This Is England is most definitely one of the very best British films of the twenty-first century, and for me ranks as Shane Meadows most outstanding to date. Meadows draws on his own personal experiences as a skinhead during the early 1980's. This Is England is set during the summer months of 1983 at the time of "Thatcher's Britain" and indeed the era of the skinheads, punk, racism and fascism.

Shaun (Thomas Turgoose) is a lonely 11 year old kid growing up on a rough council estate in the North Of England. He is grieving the sudden loss of his father after he was killed in the horrific Falklands War. Encountering incessant bullying at school, Shaun meets a gang of friendly, multi-cultural, dope-smoking skinheads, headed by Woody (Joseph Gilgunn) who immediately are drawn to his sadness and confusion and subsequently take the boy under their wing. However when one of the gang's old members Combo, (Stephen Graham) a vicious, racist thug and bully, is released from prison, Shaun is manipulated by Combo's way of thinking and racist attitude and turns into a thug himself, convinced he would be making his late Dad proud. After Combo brutally beats up Shaun's friend Milky (Andrew Shim) and exposes his own deep vulnerability and unbalanced mental state, Shaun comes back down to earth (and his senses), realising the lifestyle he'd been leading was not really for him, nor would it have made his Dad proud.

Though the first half of This Is England is touchingly funny, drawing on the allure and fun of being in a gang, the second half soon makes way for a much darker, raw and gritty nature, with many violent episodes, highlighting the brutally stark racism that existed at the time (and still does unfortunately!. Shane Meadows shrewdly evokes the total working-class despair of "Thatcher's Britain", capturing the era impeccably well and is all impressively authentic in detail.

Like every other of Shane Meadows absolutely superb films, the acting and dialogue is astutely naturalistic, drawing you in from the opening scene. Most outstanding of all is the immensely talented youngster Thomas Turgoose who's almost stark performance never once shrinks from being anything but powerful and convincing. Indeed the cast are all thoroughly excellent that includes another notably powerful turn from the ever-brilliant Stephen Graham as Combo; Joseph Gilgunn as the lovable, kindly rogue Woody who is the leader of the gang that Shaun first joins and who also refuses to be brainwashed by Combo's unhinged way of thinking and racial hatred; Jo Hartley as Shaun's mum Cynth who upon meeting the gang headed by Woody becomes charmed by them , after having had serious reservations when first seeing her young son with a shaved head; Andrew Shim as the friendly Milky; Vicky McClure as the more sensible, level-headed Lol and Rosamund Hanson as the eccentric but likable Smell.

Truly an out and out masterpiece, This Is England is an often funny, often shocking and often deeply moving portrait of a moment in British cultural history.

Ian Phillips

Carry on Emmannuelle (1978)

Not as bad as Carry On England, but still BAD!

[3/10 · 4 July 2015]

The Carry On films had been declining in popularity for some years now. Carry On Behind (1975) was the last good Carry On but it bombed at the box office charts as did the truly awful Carry On England (1976). Times had changed and the saucy seaside postcard humour of the Carry On's had become old-fashioned, especially as the smutty and far more explicit Confessions Of A... and Adventures Of A... films were scoring favourably in the Box Office ratings.

In one last blatant attempt to revive the series flagging momentum, producer Peter Rodgers and director Gerald Thomas turned to the subject of the French soft-porn film series, Emanuelle. A lot of the regulars such as Hattie Jaques, Charles Hawtrey and Barbara Windsor had left the series some years before whilst the late, great Sid James died in 1976, therefore leaving a big gap in the series that couldn't and never will be filled.

The regulars that are present for this final installment of the series are the outrageously camp Kenneth Williams (who delivers a dire French accent throughout), the ever reliable Joan Sims, as well as Kenneth Connor, Peter Butterworth and Jack Douglas (who became a regular in the series in the early seventies) and they all look a noticeably lot older. Suzanne Danielle is in the title role as the promiscuous Emmanuelle and is fairly engaging in her role but not even having the sheer brilliance of Kenneth Williams manages to save this completely awful film. Interest wanes after just fifteen minutes as the film falls flat on its face with no sense of direction. The capable cast all struggle against a script that is awash with juvenile smut and jokes that all had been heard countless times in previous entries.

The only scene that manages to ignite and raise a chuckle is when the gang are all discussing their most amorous experiences. Joan Sims recalls hers being in a laundrette where she spots a man she is immediately attracted to. They then use their laundry to act out their sexual fantasies. This scene is played out to perfection and you really have to see it to understand what I mean. But one good scene is hardly enough reason to watch this! The film was an unsurprising flop at cinemas and it served as the final nail in the coffin. The cast all seem to be on auto-pilot and probably wished they were doing something better. This film is the one that barley anybody had seen until it was released on video in the early 1990's, whilst on TV it has only been shown late at night. An absolute mess and one that is best forgotten! A sad end to a much-loved series.

Ian Phillips

Return to Eden (1983)

Providing you don't take it too seriously, you'll love it!

[8/10 · 4 July 2015]

The central character in Return To Eden is Stephanie Harper (played beautifully by Rebecca Gilling), Australia's wealthiest woman whom is a middle aged, rather niaeve and plain-looking mining magnate's daughter and mother of two. The story opens with the wedding of Stephanie Harper and the dashing Greg Marsden (James Reyne) a fading sports star. Greg, a man nearly half Stephanie's age, is blatantly just after getting his greedy hands on Stephanie's fortune.

On the wedding day an obvious attraction between Greg and Stephanie's frosty best friend Jilly Stewart (marvelously played by Wendy Hughes) is made apparent. The newly-weds invite Jilly Stewart along on their honeymoon at Stephanie's family homestead, Eden, located in the Northern terriotry. It is at Eden that the traitorous Jilly embarks upon a twisted affair with Greg, while poor Stephanie remains completely oblivious to her husbands infidelity and scheming ways.

One night, Stephanie and Jilly join Greg on a boat for a crocodile hunt. Once in a deserted spot, Greg throws Stephanie straight into the jaws of a crocodile as Jilly just simply stands by and watches her supposed best friend fight desperately for her life.

Stephanie Harper is presumed dead, but, miraculously she survives the crocodile attack (remember folks this was the 1980's) though is obviously half dead and hideously scarred. The world thinks Stephanie Harper is dead, and she spends the next six months recovering in a private clinic on a deserted island, all the while hatching a cunning plan to exact revenge on Greg and Jilly. She undergoes extensive plastic surgery that drastically changes her whole physical appearance. At the hands of the gentle plastic surgeon Dr Dan Marshall (James Smilie), Stephanie is transformed from an ugly ducking into a beautiful swan. She assumes a new identity, calling herself Tara Welles and quickly becomes one of Australia's most celebrated fashion models. Stephanie, masquerading as Tara Welles, befriends Jilly, winning her trust, and charms Greg into falling in love with her all the while continuing plotting bitter revenge on her betrayors.

Return To Eden is not least redeemed by its ludicrously over-the-top plot line by an engaging performance from its leading star, Rebecca Gilling. Rebecca Gilling is both believable and likable in her role as Stephanie Harper/Tara Welles. The transformation of Stephanie into the stunningly beautiful Tara Wellesis truly amazing thanks to a fantastic and expert make up job.

Another renowned Australian actress, Wendy Hughes, appears as the restless, bitter, Jilly Stewart. She delivers a delightfully over-the-top performance as the neurotic, needy alcoholic. Early 80s Aussie rock star, James Reyne, presumably chosen for his good looks rather than his questionable acting abilities, is quite laughable most of the time in his role as the greedy, scheming Greg Marsden. Intentionally, he literally oozes bucket loads of slime in the role, though his performance is often wooden. He is at his most hilariously over the top at the exciting and dramatic climax where he is seemingly playing the whole thing as though he were the principal villain in a pantomime. Completing the principal cast line up is James Smilie as the smooth (if occasionally too sickly sweet) Dr Dan Marshall whom Stephanie/Tara ends up having a somewhat complex affair with.

The locations used in Return To Eden are notably beautiful throughout and ranged from Sydney, Orpheus Island and Arnham Land in the Northern terriotry, and boasts magnificent cinematography courtesy of Dean Semler who later went on to win an academy award for his work on the classic film Dances With Wolves.

I really don't want to give anything away about the fun climax for those of you that have not yet watched Return To Eden but I can reveal that the conclusion is very drawn out with plenty of action and high, intense drama where Stephanie/Tara cunningly lures both Greg and Jilly back to Eden to serve up her carefully planned revenge.

Return To Eden clocks in at over four hours long and is admittedly hard to stick to in one sitting if viewing it on DVD or video. However, when watched in the three installments as shown on television it is thoroughly enjoyable. Most notably funny in Return To Eden are the hilarious fashions seen during the cat walk sequences which proceeds to make Return To Eden look all the more dated. Undoubtedly though, the fashions, as laughably over the top as they are, was the cutting edge of its time.

Produced by twin brothers Hal and Jim McElroy, they were already renowned for their work on the Australian film classic, Picnic At Hanging Rock. The screenplay was written by Michael Laurence and was directed by Karen Arthur.

That old adage "they don't make them like this anymore" applies accordingly to Return To Eden as its so blatantly a product of its time. Never the less it remains an enthralling and intense melodrama with excellent production values; evidently no expense was spared. Absolutely compulsive, Return To Eden is a worthwhile viewing experience and is recommended. Providing you don't take it too seriously and view it as a piece of very well made entertainment, you'll love it.

Ian Phillips

Alice's Adventures in Wonderland (1972)

The Definitive Live-Action Adaptation Of Alice's Adventures In Wonderland

[7/10 · 4 July 2015]

This fantasy-adventure story has been adapted to both the stage and screen countless times. There's the familiar, miserably underrated Walt Disney animated classic from 1951, while the many live-action adaptations have largely failed to capture the true spirit and flavour of Lewis Carroll's vivid vision of Wonderland.

This 1972 adaptation is, refreshingly, something of an exception and stands out as the best live-action version of the book. Director William Sterling shrewdly evokes the dark and often frightening vision of Wonderland as dreamed up by Lewis Carroll. Fiona Fullerton heads the cast making a pleasant Alice, and is most certainly given admirable support from a stellar cast, featuring some of the best British thespians of the era.

The multi-talented Michael Crawford assumes the role of the jittery White Rabbit. Crawford plays the part with a certain flair, relying mostly (and appropriately) on his inimitable comic skills. Robert Helpmann shines as the notorious Mad Hatter during the manic Mad Hatter's tea party sequence. Helpmann's comic facial expressions and spirited playing makes the sequence work extremely well. He shares the spotlight in this madcap scene with Peter Sellers who gives a fine supporting turn as the March Hare, while Dudley Moore causes some amusement as the poor, put-upon Dormouse.

Ralph Richardson delivers a fairly fine performance as the Caterpillar in a very vivid scene, while Davy Kaye as the Mouse during the dreamy Caucus Race Sequence plays his role with a degree of subtlety. Much more effective, though, is Flora Robson, putting in a fantastic interpretation of the ferocious Queen Of Hearts and is both comical and scary in the role. Michael Jayston appears in the opening scene as Dodgson and Duckworth (Hywel Bennett) sit on a river bank one hot summer's afternoon. It is here where Dodgson begins telling Alice the story of Alice's adventures underground.

The nightmarish Duchess and Cook sequence is ignited by a fittingly off-beat performance from Peter Bull as the Duchess, while Patsy Rolands, as the demented, pepper-loving, plate-throwing Cook, takes this role to fabulous new heights! I do find it find it a little disturbing the way the real-life baby is clearly distressed and is shaken up and down by the Duchess! The sullen, ever-crying Gryphon is played marvellously by Spike Milligan, while Michael Hordern is equally excellent as the Mock Turtle. This fun sequence where Alice, the Gryphon and the Mock Turtle are seen running and dancing their way round a deserted beach, is sped up at points to add to its comical and magical effect. The scene is also accompanied by one of the very few effective songs of the saccharine soundtrack, 'Will You, Won't You Join The Dance?'

Roy Kinnear is the permanently grinning and somewhat snide Cheshire Cat, and other notable players in the more than capable cast include Dennis Price in a small but adequate role as the King Of Hearts, Rodney Bewes as the bumbling Knave Of Hearts, Julian Chagrin as Bill The Lizard (seen during the scene where Alice has grown large and is stuck in the White Rabbit's house; Bill the Lizard attempts to slide down the chimney into the house but Alice then swiftly kicks him back up again), Freddie Earle as Guinea Pig Pat (also seen during the White Rabbit's house scene), Ray Brooks as 1 of Spades, Dennis Waterman as 2 of spades and, of course, not forgetting twin brothers Frank and Freddie Cox who make the definitive Tweedledee and Tweedledum (characters that were taken from a segment in Lewis Carroll's sequel Through The Looking Glass And What Alice Found There; most stage and screen versions often tend to draw large segments from both Alice books).

Alice's Adventures In Wonderland (1972) encapsulates a dreamy, very hazy-like effect that enhances the atmosphere, intentionally giving the film an often dark, creepy edge. It strikes an even balance between moments of fun, magical comedy to more frightening settings.

Most of the film is engaging and enchanting. For instance,the surreal sequence at the beginning of the adventure is one of the scenes that really stands out in my mind as it is done to bewitching effect. Alice wakes up in a giant story book garden and spots the White Rabbit gazing at his waist watch. Alice proceeds to follow the White Rabbit into a long, dark tunnel. Keeping up with the whole familiar ethos of Alice In Wonderland's most famous catchphrase, 'Curiouser And Curiouser', Alice continues following the White Rabbit unaware of the danger lying in front of her and then finds herself tumbling down a large rabbit hole, landing in the whimsical, topsy-turvy world of Wonderland. The score, courtesy of John Barry, is masterful and hauntingly atmospheric during this sequence.

In fact, overall, what compliments the mesmerising, hypnotic vibe of Alice's Adventures In Wonderland is the bewitching score by BAFTA-award-winning, John Barry. The film also boasts magnificent cinematography from Geoffrey Unsworth which notably sticks closely to the original illustrations of the book. Some of the cardboard-like sets look far more suited for a stage production but are, at the same time, truly sumptuous.

Alice's Adventures In Wonderland (1972) is an extremely faithful and enchanting adaptation that's most noble in its loyalty to the book. In that fact it deserved far greater recognition than it has received. Widely regarded as the best live-action screen version by lovers of the book, it was still unfairly slated by some critics of the day, some claiming it was too long, tedious and boring.

It's true that Alice's Adventures In Wonderland (1972) is a little slow and bland at points but on casting its shortcomings (which you can over-look) aside, it's most definitely worth a look. Fans of Alice In Wonderland that have not yet had the delight of watching this charming, atmospheric version, will be thoroughly enthralled.

Ian Phillips

Carry on England (1976)

The Worst Carry On Film

[2/10 · 4 July 2015]

Now, I love the Carry On films, but this is, by far, my least favourite. The whole film feels really awkward as there's lots of painfully drawn out dialogue with no punchlines and equally painfully drawn out scenes that just feel like time-fillers. The film doesn't really go anywhere and the younger performers seem a little static and unable to mould into the traditional Carry On spirit, despite their best efforts. Kenneth Connor and Windsor Davis do their best but poor Joan Sims is completely wasted with only a handful of lines. The performances from the likes of Judy Geeson and some of the other younger performers feel uncomfortably forced. Just didn't make me laugh and didn't feel like a true Carry On. Very flat throughout and just pathetic. A terrible waste.