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  • Looking back at the many ups and downs of the British Film Industry one clear period stands out as very firmly 'up'. This was during the reign of the 'Carry On' team at their peak. For a five year period (1963 - 1968) the team churned out a series of slickly produced genre parodies which, though often substituting authentic locations for a beach in Wales or a field in East Anglia, managed to upstage the Hollywood productions they were thumbing their noses at. 'Carry On Cleo' (1964) exemplifies this period and stands out as (some would argue) one of the greatest British films ever made. The usual cast is out in force, with only a couple of notable absences (i.e. Barbara Windsor), all delivering at the top of their form, and clearly revelling in the luxury of using the sets and props left over from Mankiewicz's megaproduction of 'Cleopatra' (1963). Sid James was never more ruggedly appealing than when suited in the white miniskirt and golden breast plate of Marc Anthony, he also gets to blast the immortal line "BLIMUS!!". Scriptwriting doesn't get any sharper, from start to finish Talbot Rothwell's script glitters. In the part of Cleopatra, Amanda Barrie gives us a good view of her ripples as she floats gracefully in asses milk. Whilst batting her extended eyelashes she asks "Do'st thou like what thou see'st?". Well I certainly do'st. The film is a pleasure to watch, there is never a dull moment as the plot flips furiously between the plight of the cowardly Hengist Pod and heroic Horsa escaping roman enslavement (Kenneth Connor & Jim Dale buckling a fine swash together), and the drama of Julius Caesar's last days of power (Kenneth Williams camping it up to the nines as usual). The story threads intertwine and build to a hilarious climactic chase scene involving a Shakespearian identity swap and a hulking Egyptian guard by the name of 'Sosages'. If contemporary British film-makers would return to taking the mickey instead of sitting passively in Hollywood's thrall, we might see a few more gems like this in the future.
  • What was more deserving in its day of being given a glorious sendup than the monumental production of "Cleopatra" with Liz and Dick's on- and off-set romantic interludes, so fulsomely (and scandalously - Can you believe it?!?) documented in worldwide tabloids?

    20th-Century Fox rather carelessly left behind some quite elaborate sets at Pinewood Studios when production on the first attempt to film this spectacular under the direction of Rouben Mamoulian had to be shut down and then abandoned in London, when Elizabeth Taylor experienced one of her many life-threatening illnesses. (Other IMDb-ers err in stating that the abandoned sets used were those from the Joseph L. Mankiewicz version filmed at Cinecitta in Rome and on various locations in Italy, Spain and Egypt.) When M-G-M finished production of "Ben-Hur" (1959) in Italy they prudently destroyed the massive sets to prevent those cleverly thrifty Italian producers of sword-and-sandal "epics" from taking advantage of the bounty left behind.

    The "Carry On" series may not have translated all that well to American shores, but I recall standing in line in Westwood, California, to see "Carry On Nurse" and enjoyed several of the later productions in this lengthy British franchise of satirical and slapstick humor. They were great fun and the new DVD collection is no doubt worth the price for aficionados of the series.
  • Julius Cesar returns from his three-year campaign across Europe with his captured slaves to find a less than warm welcome awaits him. His wife is mad at him, the senate is plotting against him and a war between Cleopatra and a rival for control of Egypt. While Cesar and Mark Anthony try to keep control of Rome, they also must side with the beautiful Cleopatra.

    Although it is true that Carry On films are an acquired taste and that some of the jokes will be lost to those not familiar with British gags and terms, it is still the case that the Carry On's can be very funny if you get them and they hit the mark. Cleo is yet another example of what made the Carry On movies such a success; this is one of the better ones - plenty of good gags and fine actors to deliver them. The plot is good enough to hold the gags together but not good in the traditional sense - basically the gags are what drive the film rather than the plot!

    And what good laughs there are to be had! The humour is innuendo based but is not as out and out crude as the series often could be. Even the slightly smutty jokes are pretty clever and witty; regardless of where you are from, there is enough laughs here to be worth watching. I won't start quoting lines simply because there are so many good ones - the second half is a little weaker than the first, but it is all still good stuff!

    The cast are great despite missing a few of the regulars. The film's stand out performances are easily Williams and James. James is his usual self, regardless of historical setting but Williams is simply superb and makes his lines work better due to his delivery. He has most of the screen time and he makes the film. Barrie is not that good looking but she makes a good Cleopatra and she has a good body on her. Williams and Dale don't have that much to do but are still OK despite feeling supplemental to the action. Hawtrey is hilarious and Sims is OK.

    Overall this is as good an example of the Carry On series as any other. It is smutty without being overly crude, with a good mix of sex jokes and witty puns and such. The plot holds the film together without being intrusive on the gags. A fine example of a series that could be as good as it could bad - here it is good.
  • Carry on Cleo stands head and shoulders above the rest of this variable comic series, combining a genuinely witty script, excellent performances and good production values (thanks to the use of sets from the previous years Burton-Taylor production).

    it seems that the scriptwriter and cast,let off the normal constraints of the series, were determined to excel.

    In addition to the oft-quoted Kenneth Williams line ('Infamy, Infamy, they've all got it in for me!'), there are other gems; 'Ptolemy?' , 'I AM TELLING YOU!!!', and to Gloria, the British girl who falls ill aboard ship - 'Oh well, Sic Transit Gloria!'.

    If you only see one Carry On film, make sure that this is it.
  • FUX9 November 1998
    This has to be the best of the earlier (Anglo) carry ons. There are many great moments to this film, with all the team except Hattie Jaques and Barbera Windsor. As usual it is Williams who shines through (as Caeser), but all the team put in top performances, notably Connor (as Hengis). With such lines as "Infamy, infamy , Oh they've all got it in for-me" I say it again Williams is the STAR. We start off in England during a typical summer (RAIN), where Hengis and Horsa are going about their lives (making square wheels and thus inventing the Window Frame) They are captured by the Romans and taken to Rome to be sold as slaves. Eventually Hengis ends up as Caeser's body guard who swaps roles with Caeser to meet Cleopatra. There is simply FUN FUN and more FUN to be had throughout.
  • As an American interested in British humor of all periods, I was fascinated to finally see some examples of the `Carry On' comedies, a beloved institution in England. The recent DVD releases are region 2 PAL format only, so they continue to be for the British market exclusively.

    I believe these films were considered racy in their time, but are quaint indeed by today's standard. `Cheeky' is the best word I can think of to characterize them. I was familiar with Kenneth Williams and Sid James as voices on a couple of old `Round the Horn' radio shows I'd heard. They didn't look quite as I'd pictured them. The cast is colorful and likable, but the pace and form of the humor seem to me very English, or maybe more accurately, not very American. Sometimes the jokes make references that simply wouldn't register with Americans, and I can see why it was probably decided long ago that they wouldn't travel well. Still, if you are something of an Anglophile, and have seen and appreciated a great deal of British movies and television, as I have, you're likely to get the jokes.

    One of the characters in `Carry On Cleo' is named `Hengist Pod,' and his wife's name is `Sena' – hence, `Sena Pod,' hardy-har! Now, I must have come across a hundred or more references to `senapod' in British comedies, and as an American, this was a great mystery to me. As far as I have been able to determine from countless sniggering references, a senapod was (is?) some sort of strong laxative. Ah, you saucy English and your beloved poo-poo humor!

    Anyway, this is probably a good introduction to the `Carry On' films for the uninitiated, as it is colorfully filmed with lavish sets and costumes left over from the Burton/Taylor production of `Cleopatra.' In addition, as much of it is set in ancient Rome, it may not seem as provincially English to non-Britons as some of the others in the series. I was delighted to finally make the acquaintance of the `Carry On' films, and look forward to seeing more.
  • I do love the Carry Ons,this is one of my favourites especially as it has Amanda Barrie playing Cleo,didn't she have such big eyes?i particularly like the way she portrays Cleo as a sort of hippie Groovy Chic,rather than a big boobed no personality bimbo as was portrayed in the Up Pompai series with Frankie Howard,which was about the same era.Warren Mitchell is particularly funny as Marcus & Spencius it makes you wonder why he was never part of the team,this is the only time you see him in a carry on and his time on set is memorable.For me the funniest thing about this film now is how skinny most of the stars legs are,whose are the skinniest would you say?Charles Hawtrys,Jim Dales,Kenneth Williams,Cleos even Sid James had thin legs,i think they should have all gone down the gym first.But then the Carry on team were always different,they could always raise a laugh in one way or another.
  • A pretty "unofficial" tale of the intrigues between Cleopatra, Julius Caesar and Marcus Antonius.

    Hit-or-miss but frequently hilarious spoof of Joseph L. Mankiewicz' infamous super-epic "Cleopatra", that generates far more amusement than the original. The pace is hectic, the writing unusually clever and most of the actors caught somewhere near their best. Some dull spots, but the whole enterprise remains cheerful and sprightly.
  • Perhaps the best of the entire CARRY ON cycle, notable for its reuse of the sets and costumes originally conceived for Joseph L. Mankiewicz's monumental folly CLEOPPATRA (1963), CARRY ON CLEO contains its fair share of innuendo - so thick and intricate, in fact, that viewers can only tease out the brilliance of Talbot Rothwell's script after repeated viewings.

    Yet perhaps uniquely among the cycle, this film contains memorable performances too. Amanda Barrie has never been more seductive as Cleopatra she she lolls in her bath of asses' milk tempting Mark Antony (Sidney James) to join her. She remains gloriously empty- headed when faced with any schemes to enact, but certainly knows how to deal with men, especially the duffer Julius Caesar (Kenneth Williams). It is only when she gives Briton Hengist Pod (Kenneth Connor) a love-potion, transforming him from a mouse into a sexual Lothario that she meets her match.

    What perhaps distinguishes this film, however, is its metatheatrical awareness. Director Gerald Thomas makes no bones about tracing its origins in music-hall and variety; jokes are delivered as separate lines direct to camera with little concern for dramatic verisimilitude. The cast have no need to; they know that the viewers are waiting for the next innuendo, and they are prepared to glance briefly at the camera before delivering it, taking us into their confidence as they do so.

    This makes for both a liberating yet a lasting experience; we feel that we are somehow complicit with the actors in a ritual that we all know and love. It doesn't really matter what the film's subject might be; as if going to pantomime or a variety show, we are there to see our favorite actors doing what they are best at, and participating in a community experience of cathartic laughter. It is this unique quality, shared only by a few films (others might include Abbott and Costello or the Marx Brothers) that invests them with their timeless qualities.
  • Warning: Spoilers
    This was a lavish, colourful production that even on the supposed small budgets the 'Carry Ons' were deemed to have had, looks spellbindingly good, let alone the humour. (So many have made reference to the actual sets/costumes used from 20th Century Fox's 'Cleopatra').

    The 'Romanised' names which reflect today's names (Slave-traders known as 'Marcus and Spencius' etc) add to the usual absurdity, but absurdity is never done better by this lost era of comedies - you never can help laughing when the team deliver the lines better than anyone could today (Check out Tommy Cooper and Stan Laurel).

    The time is coupled with the Roman occupation of Britain and Caesar's Rome. Yes, we know that Britain wasn't properly occupied and the population weren't stone age like portrayed in the film but who cares?! Julius Caesar, played by Ken Williams, Anthony by Sid James and the rest of the ample cast, including Charlie Hawtrey still wearing his specs in ancient Rome, make it fine nonetheless.

    Jim Dale does well on one of his few outings as he usually does "Oh, you silly Pod!" With reference to Hengist Pod (Kenneth Connor), the square-wheel making, accidental hero who's promoted to Caesar's head bodyguard.

    Naturally it follows through to both Caesar's and Anthony's dalliance with the beautiful Amanda Barrie as Cleopatra.

    The gags as always, are simple but effective (I'm not going to do the Kenny Williams one!). On John Pertwee as the soothsayer calling: "Isis, Isis". - "They're lovely!" comes the reply from Ken Connor! And when Cleo mentions to Anthony that one bite from the snake is fatal, he bites the snake, spits it out, disgusted with the taste and says: "You're not kidding!" Definitely along with 'Khyber' the best of the lot!
  • An excellent script helps make this film one of the best Carry On films. Full of memorable moments, and acted by a superbly casted group of actors.
  • BA_Harrison12 November 2014
    …Cleo delivers the usual infectious mixture of ribald humour and slapstick buffoonery from the Carry On gang, but the team's unique blend of innuendo and slapstick is made even more enjoyable this time around thanks the quality of the crumpet on display: there are assorted tasty maidens (including regular Carry On babe, buxom brunette Sally Douglas), a slave auction that features a gorgeous blonde haired, blue-eyed bidder (played by Wanda Ventham from '70s TV series U.F.O.), a room full of fit vestal virgins, a hot, blonde Briton called Gloria (Julie Stevens), and best of all, a very lovely Queen Cleopatra, played by the amazing Amanda Barrie. With her big eyes, jet black hair, milky complexion, and extremely seductive voice, it's no wonder Egyptian sex-kitten Cleo managed to twist Roman general Mark Antony (Sid James) around her little finger.

    The film also benefits from excellent set and costumes (apparently borrowed and bought from various other movie and stage productions, including the 1963 classic Cleopatra starring Elizabeth Taylor and Richard Burton!), all of which go to make this a treat for the eyes, even when the lovely ladies in the cast aren't on screen.
  • Carry On Cleo is directed by Gerald Thomas and written by Talbot Rothwell. It's very loosely based on the William Shakespeare play. It stars Sid James, Kenneth Williams, Kenneth Connor, Charles Hawtrey, Joan Sims, Jim Dale and Amanda Barrie. It's the 10th film in the Carry On series and the second, after Carry On Jack, to feature an historical setting in period costumes.

    Plot basically retells in Carry On style the story of Anthony & Cleopatra, with observations on Julius Caeser's time in office and the stoic resistance to slavery led by two British cave dwellers.

    Of the 31 Carry On movies made, only a small handful of them were generally considered to be good films worthy of inspection to non fans. Cleo is one such film, in fact in many British critical quarters it's considered the best of the bunch. The cynical sod in me tends to think that some of those critics merely choose to put it forward because of its thin farce link to Shakespeare, but be that as it may, it actually is a very good film. It doesn't overdo the innuendo, the comedy comes thick and fast, and it finds the cast in top form; notably Williams who gets the role of a lifetime as the camp, cowardly Caeser. Production has a real quality about it as well, costuming and sets catches the eye, while Rothwell works wonders with a script so cheekily paying purchase to an historical legend. Fine film, and one that shows that when the duffers and later reliance on sauce are stripped away, there was talent in front and behind the camera of a Carry On movie. 8/10
  • All actors are great in this one, but Cleopatra (Amanda Barrie) just makes my day every time I watch that movie (or a part of it). Yes, I do keep play it over and over again, as it kills almost immediately bad mood, any form of depression and so on. Personally I do not remember seeing such a humorous performance by any other actress. She's so natural and makes such a great contrast to the popular image of the Egyptian queen, acting as an average modern (for the time) American housewife. The funniest female performance on TV (and I believe on the big screen too) I have ever seen. Cult line by Mark Antony, right after getting a quick preview of what Cleo would do for him in return for killing Caesar: "Puer Oh, puer, oh puer!" Which, as any schoolboy knows, means, "Boy. Oh, boy. oh boy!"

    Great movie, great fun from the old school!
  • This is surely one of the most popular "Carry Ons", a spoof on the notoriously expensive CLEOPATRA (1963) and was in fact shot on abandoned sets built in London for that film! The cast is in top form here – Sidney James is Marc Antony, Kenneth Williams Julius Caesar, Joan Sims is Calpurnia (Caesar's wife), Charles Hatwrey Seneca (philosopher and Sims' father); Kenneth Connor (as Hengist Pod, the inventor of a square wheel and who eventually does a stint as Caesar's 'invincible' bodyguard) and Jim Dale are featured as early Britons; Amanda Barrie – who had previously appeared in CARRY ON CABBY (1963) – makes for a delightful Cleopatra.

    Though emerging to be somewhat patchy considering its reputation, there are some undeniably uproarious moments throughout – the Roman soldier throwing a shield at Dale during a scuffle and hitting Connor squarely in the face; the famous carpet-rolling scene introducing Cleopatra in the 1963 Hollywood epic being directly lampooned here by having the Egyptian queen roll under a table replenished with food and spilling its contents onto herself and the floor; untrue to history, Antony connives with Cleopatra to murder Caesar and become Emperor himself – she suggests using a poisonous asp and hands him one from a basket, which he mistakes for a local delicacy and promptly bites off its head! Talbot Rothwell's script also includes a running gag involving the famous "Friends, Romans, Countrymen" Shakespearean speech, as well as an in-joke wherein a couple of traders merge their business – to be known from then on as "Marcus & Spencius"!
  • As I make my way into nine of the Carry On movies, there seems to have been a sudden upswing since Cabby, Cruising and Regardless.

    Spying and now this one, Carry On Cleo, are funny.

    "Cleo" was all Williams as Ceasar. I don't think anyone else could have done that so-so line and made it funny. "Friends, Romans, . . I know that!"

    Okay, Sid James and Kenneth Conner had a bit more material to work with here, namely plot and direction.

    Direction would have helped more in earlier ones, such as Regardless and Nurse. I guess the history helped drive Carry On Cleo.

    Upon seeing Cleo, I thought Barbara Windsor (whom I had only glimpsed for the first time just earlier when I watched Spying) was the Egyptian queen, and deduced, wow, she used alot of padding in her bra.

    Now I read I was in error and it was Amanda Barrie as Cleo. I wonder if Windsor was offered the part of Cleo first?

    That soothsayer. What a scene stealer and master at his craft that one was! I liked James and Conner here, but the Soothsayer was running with the movie from them all. Had he hung around, he would have shown Williams how to do it as well, no doubt.

    Who was he? Jon Pertwee, Doctor Who #3.

    No idea where Hattie Jacques would have fit in this tale. I haven't seen her now since Carry On Cabby. Look forward to what is left, with or without her.

    Next up: Carry on Screaming! Heard it is a good one.
  • I love Carry On...it is typically British humour that is now drowning under the weight of trendy Ben Eltonish style, politically correct and hurtful humour. As a Carry on film, Carry On Cleo is the best of the lot. It just works and if you like bawdy humour and double entendres (which is what English humour has always been about - playing with words) then this film is for you. I was surprised to hear that many Americans have an affection for British humour because of its intelligence. The thing about Carry On is that it was cheeky, lowbrow stuff delivered and performed by intelligent people and some of our best-loved actors and actresses - which elevated the whole series to a higher status and is deservedly termed "classic."
  • neil-47622 December 2018
    Warning: Spoilers
    Coming hot on the heels of the bloated, hugely expensive Elizabeth Taylor Cleopatra, the Carry On team put their own unique spin on the Julius Caesar / Cleopatra / Mark Antony triangle, intermingled with the exploits of two enslaved Britons.

    The Carry Ons were made on a shoestring budget which, in this case, is made to look much larger and more effective than it was: there are some terrific colourful costumes and sets.

    But it's all about the cast and script, of course. The script is the usual mixture of knockabout farce and smutty innuendo, seasoned with a batch of anachronistic gags, not to mention the iconic "Infamy! Infamy! They've all got it in for me!" And the cast are, as usual, great, being joined by Amanda Barrie as a cartoony and cute Cleopatra in which one can see the seeds of Miranda Richardson's Blackadder 2 Queenie.

    This is huge fun.
  • Warning: Spoilers
    Although disguised (at least in the credits) as a send-up of Shakespeare's play, Antony and Cleopatra, this is actually a rather amusing and well-produced send-up of 20th Century Fox's much publicized and over-costly Cleopatra (1963). It was a pretty easy assignment all around, but nevertheless this Carry On entry hits the target rather well. The players perform their farcical tasks with considerable zest, the settings and costumes are remarkably lavish, and even the color photography is delightfully bright. Sid James, of course, has the major role (Mark Antony), but Kenneth Williams really gets his teeth into his hilarious Julius Caesar. Joan Sims makes for a delicious Calpurnia, while gorgeous Amanda Barrie (a TV actress who has made very few movies, alas!) is really splendid in the title role of Cleopatra.
  • In 1963 the film almost broke 20th Century Fox was released and Cleopatra set a standard by which all other peplum films were done. On not quite the budget that Cleopatra had, Carry On Cleo benefited from all the hoopla and publicity that the mammoth Cleopatra enjoyed.

    The Carry On gang are in their best form in this film which is a wonderful spoof of all the sand and scandal films were becoming popular starting with Quo Vadis in 1951. The story of Julius Caesar, Mark Antony and Cleopatra was never quite told like this.

    It starts with Caesar's expedition to Britain and him bringing back some captives like Jim Dale and Kenneth Connor. Dale is a heroic sort and Connor is a henpecked husband who spends time inventing things like square wheels, the better that carts not roll down backward on a hill.

    The rest of the film concerns the adventures that Connor and Dale have the mistake made by none other Julius Caesar and Mark Antony thinking that Connor was the warrior type after Dale saves Caesar. Just a whole lot of people trying to do him in. Including in this version Mark Antony played by Sid James.

    You'll never see a Julius Caesar quite like this one. Kenneth Williams plays a henpecked husband himself married to Joan Sims and when Antony tells him an alliance can be made with Cleopatra he's hot to trot. Anything to get away from Calpurnia. Now we know why he went on those long expeditions of conquest.

    As for Cleo she's beautiful and quite empty headed and played by Amanda Barrie.

    Funniest moment for me when Sid James bites the head off an asp after Cleo tells him its poisonous. It sure doesn't taste good.

    The Carry On ensemble in great form for Carry On Cleo.
  • Warning: Spoilers
    While this probably isn't the best Carry On film it is a lot of fun; it stars most of the regular Carry On cast including Kenneth Williams as Caesar and Sid James as his less than loyal friend Mark Anthony. The film begins in ancient Britain where two locals, Hengist and Horsa are captured and taken to Rome as slaves. They manage to escape and hide amongst the Vestal Virgins in the Temple of Venus. Here Horsa manages to kill five Roman soldiers when they attack Caesar; he then flees and everybody assumes it was Hengist who was the hero; he is promptly made Caesar's chief body guard and must accompany him to Egypt where Caesar believes he will forge an alliance with the beautiful Cleopatra… the viewer however knows that it is a trap being set by Mark Anthony who wishes to become Emperor and have Cleopatra for himself.

    The outing for the Carry On team was a lot of fun; Kenneth Connor and Jim Dale were good as Hengist and Horsa and Amanda Barrie was suitable alluring as Cleopatra; however the best lines were reserved for Kenneth Williams… 'Infamy, Infamy, they've all got it in for me' is a classic! Some people might not approve of the fact that the actor playing Cleopatra's African bodyguard is a blacked up white actor offensive but as he is so badly blacked up you can see white patched in places I found it more funny than offensive. As one might expect from such a film there is a lack of historical accuracy but that hardly matters, as it is not trying to be serious. While a few of the jokes are a little bit risqué there is nothing too offensive and although there are plenty of scantily clad women to provide mild titillation there is no nudity. If you are a fan of the Carry On films this is certainly one of the ones you really should watch.
  • Warning: Spoilers
    This is one of the better Carry On Films. It's not perfect, but it's close. My biggest gripe was wanting to see more of Cleo played by the beautiful Amanda Barrie. I felt she was underused. She is missing from most of the first half of the movie. Now to the good. Sid James again steals the show as Marc Anthony. Kenneth Williams plays a wimpy Caesar and Joan Sims is wasted as his wife. Jim Dale and Kenneth Conner play two cave men who are captured by the Romans to be slaves. Kenneth proves himself and becomes his personal guard. Jim must fend for himself. The people hate Caesar and Sid turns on him when Cleo shows him what she will give him if he kills Caesar. He tries ans tries and can't get the job done. Then at the end Caesar is stabbed by his people in the back and Sid jumps into the bath with Cleo. Like I said, Amanda Barrie is hot and her body is perfect. She wears some sexy outfits. I wish she was in it more, but it's still a solid film.
  • The kind of film you can watch over and over. Amanda Barrie will forever be Cleopatra - forget Liz Taylor and Richard Burton. Caesar's quote of "Infamy, Infamy they've all got it in for me" must be an all time movie ribtickler.
  • By the mid 60's the "Carry On" series was in full swing, spoofing popular films of the day in ribald and of course risqué comedies of which this entrant, following on from the mega- publicity over the Burton - Taylor epic "Cleopatra", was possibly one of the very best.

    The gag count is as ever very high, although as many will make you wince as smile. However it contains probably the best one-liner in all of Carry-On-dom with Kenneth Williams' classic utterance "Infamy Infamy, they've all got it in for me", plus the running gag of his interrupted "Friends, Romans and Countrymen" introductions always makes me smile too.

    Of course much of the humour is saucy and sexist a-la-mode, but once you make allowances for the times in which it was made, you can sit back and laugh along at the typical high jinks and low humour of the familiar team where only Barbara Windsor and Hattie Jacques can be said to be missing.

    Of those that are present and politically incorrect, Kenneth Williams is a surprisingly randy Julius Caesar, Sid James cackles and crackles as Mark Anthony, Kenneth Connor is the gormless accidental bodyguard Hengist Pod, Joan Sims as ever is the not-exactly above reproach wife of Caesar, Charles Hawtrey is her dirty-old-man of a dad, Jim Dale is the youthful, rebellious slave and Amanda Barrie you could hardly say plays the clothes as she's not required to wear too much but puts across the queen of the Nile as a dim-witted but delectable girl on the make.

    For me it's probably between this and either "Cowboy" or "Up The Khyber" as the funniest of them all which makes it a highly amusing if of course dated British comedy of its day, directed efficiently as ever by Peter Rogers.
  • Warning: Spoilers
    While the rather bad "Carry On" Jack was set against the backdrop of the Napoleonic Wars and briefly featured Lord Nelson and Admiral Hardy as characters, this is the first time that history gets the proper "Carry On" treatment! It's not quite as side-splittingly hilarious as "Carry On Spying" but it's not far behind either. It's a brilliant parody of the historical epic genre, particularly and most obviously "Cleopatra". The sets are beautiful because they were the discarded ones which were built in Britain for that film before it was decided to shoot it in Italy. After Spartacus, this was the second film in five days that I saw featuring Julius Caesar as a character but the two could hardly be more different!

    I'm starting to sound like a broken record at this stage but Kenneth Williams and Charles Hawtrey were once again the strongest performers. Williams was hilarious as Caesar in part because he's the exact opposite of most people's idea of the Roman dictator and Hawtrey got many of the best lines as his father-in-law Seneca. Sid James is excellent as the leering, Cockney accented Mark Antony who wants to take as many liberties with Cleopatra as this film does with history. After a four film absence, Joan Sims returns to the series as Caesar's battleaxe wife Calpurnia and it's like she never left, though I wish that her role was bigger. In his last appearance in the series for six years, Kenneth Connor is once again extremely funny as his usual cowardly, meek character, this time the British slave Hengist Pod.

    The film has a great supporting cast including Jon Pertwee, Francis de Wolff (who would look right at home in an actual Roman epic), Warren Mitchell, Gertan Klauber, Jim Dale and Sheila Hancock. Amanda Barrie is quite good as Cleopatra but I think that it would have been funnier if she had been played by Joan Sims and Calpurnia was played by Hattie Jacques, who was once again absent on this occasion.f
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