Carry On Henry (1971)

The Carry On Gang's unofficial leader, Sidney James, is rather preposterously miscast as Henry VIII in this bawdy episode from the infamous monarch's life. Here the great tyrant appears as, well, Sidney James - a pint-sized, working class heel with a mug only a mother could love - chasing tavern wenches and princesses alike with equal-opportunity horniness. The production values are surprisingly good here, for a series that was basically a run of second features, with excellent candle-lit cinematography evoking the period, and everybody seems comfortable in period costume. Kenneth Williams pulls his usual turn as a cowardly schemer that you just know will get in the cogs of his own machine once the usual zaniness starts to get going. Joan Sims, as was often the case, is along to bring the production its occasional moment of class between calamities.

I have seen this film one other time. I remembered it being an OK film. That is how I feel after watching it again. Sid James plays Henry VIII. He does a fine job as always. His helpers or crew consist of Kenneth Williams, Charles Hawtrey and Terry Scott. I only really liked Kenneth Williams here. He had some funny moments. Terry Scott just did not work as a cardinal. Sid has his wives beheaded when they start to displease him. His new wife is played by Joan Sims. He is ready to hit the hay with her and she eats some garlic right before they make love. She thinks it's a necessity for love making, while Sid hates it. He wants to chop her head off as well, but he does not want to risk war by doing it. His helpers try and try to get him more women and they end up making things worse. The final scene has Kenneth and Terry at the guillotine. He offers to let them live if they can help him find another woman. They choose the beheading. I did like the ending, but this is just above average.

This farce about Henry the VIII is perfect fodder for the Carry On group. This film has the core cast which made the best Carry Ons. It stars the irrepressible Sid James as the king, along with the always fun to watch Kenneth Williams as Cromwell. That duo made the best Carry Ons, they just seemed to always work well together. Add in the always welcome Joan Sims, the always bubbly Barbara Windsor and the also welcome Charles Hawtrey as Sir Roger and you know you're going to enjoy this. There have been better Carry On films, and the film carries the usual sexual innuendos and once in a while too cheap laughs, but with this cast it hardly matters. Seek this out.

For most spoofs, the holy grail is to make so ridiculous the subject of attack that it will be impossible to take it seriously again. AIRPLANE! achieved this with the AIRPORT series, admittedly an easy target. CARRY ON HENRY may not have had quite the same effect - such is the unshakeable British obsession with the past, one of the film's main targets - but it's always nice to see that someone else found A MAN FOR ALL SEASONS and THE LION IN WINTER to be pompous tripe as well.HENRY, like CARRY ON UP THE KHYBER, is an example of a modest franchise miraculously finding an appropriate subject and creating a work of art. It may lack the jawdropping Bunuellian genius of KHYBER, but it has its own juicy pleasures. The jokes are franker than were usual at this point, but clever rather than crude, and funny when they were crude.This is also the last time the cast would be as brilliant as this - a well-oiled machine perfectly in control of the material. Kenneth Williams is aptly, hilariously Machiavellian; Charles Hawtrey is endearingly inappropriate as the brave knight and lover who undergoes all sorts of horrible tortures for his Queen - the heterosexual potency of these obviously gay stars are an uproarious counterpoint to the macho King's unsuccessful promiscuity. Joan Sims is glorious as ever as the ample, lascivious, French, garlic-obsessed Queen. But it is the godlike Sid James who rightly walks away with the film, cinema's best ever King Henry. The merging of his usual persona - the chuckling lecher who is repeatedly thwarted in his amorous endeavours (itself a remarkable comment of tyranny throughout the ages), married to a sex-mad woman he can't abide - with the portrayal of an historical icon creates satire of great depth.Whereas the aforementined, Oscar-garlanded pageants are rigidly respectful of English history, HENRY is breezily sceptical. Rather than search for continuity with the past, or examine various notions of Englishness, HENRY is very modern in its rejection of a certain kind of history, the meticulous reconstruction of a mythic past that can teach us about the present. HENRY knows that the past can only be viewed through the prism of the present, that history is a fluid, ever vanishing, entity, always reinterpreted to each generation's needs. The film quite clearly sets out its stall of bogusnes - it is based on recently discovered documents by William Cobbler - only to show how unreliable our grasp of history is; how it's always told in somebody's vested interests, at the expense of someone else.The film therefore prefigures the awesome Monty Python deconstructions of the 70s, with jokes about the Labour government, and with King's wenches who demand payment before favours, and whose fathers complain about taxation. The reduction here of English history to an aristorcratic bedroom farce is a more profound insight than any 'serious' epic has ever managed.