Carry On Emmannuelle (1978)
It was back to basics in more ways than one with this, the
final film in the linear 20-year run of the original Carry On
series.
It's a return to innocent sexual banter and tongue-in-cheek
innuendo; even though sex makes up the bulk of the film's plot it
is treated with comic awareness and not smutty leering. The film
returns to the tried and tested corny gags and enjoyably
larger-than-life performances from its experienced team.
Kenneth Williams minces around the production as a ferociously
camp, impotent and flagrantly over-the-top French ambassador,
giving a stunning star performance complete with appalling gags
and overplayed continental angst.
Williams goes into overdrive, throwing innuendo-encrusted lines
all over the place, resurrecting the snake sequence from jungle
and spending the majority of the film in limp-wristed mode. Only
at the close does he successfully re-bed his delicious wife and
partake in the joyous fun and games with his old colleagues.
Suzanne Danielle is certainly the ideal Emmannuelle and
gives an impressive and stylish performance, swaying gracefully
through the over-the-top camp and innuendo with a delightfully
casual attitude to her flamboyant sexual activities. However, the
real heart of the film is provided by Williams' class-aware,
sexually open below-stairs staff.
While Danielle gradually sleeps her way across London, the
comic sparring and perfectly-timed innuendo from the staff is
inspired - not surprising, when they are made up of four Carry
On survivors from the golden age: Kenneth Connor, Peter
Butterworth, Joan Sims and Jack Douglas.
Sims as a po-faced,
stern, anti-fun figure who eventually throws herself into sexual
enjoyment. Peter Butterworth shuffles around the place in an
inspired portrayal of dithering old age, struggling to hear and
see the action going on around him, while Jack Douglas gives his
finest film performance as the upright figure of authority, Lyons
the butler.
Thus, all the best moments come with the experienced comic
banter between the four Carry On servants, even when they
drag through a lengthy re-examination of their favourite amorous
experiences!
Parts are so gloriously awful that they make you shudder, but
the performances enhance the sub-Rothwellian innuendo with
endearing characters and richly delivered dialogue.
The audience knows it's in good company, gamefully playing the
game for the last time and having a ball.
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