The Complete A–Z of Everything Carry On

ADAMS, MISS

Miss Adams, whose phone number is 663 404271, is mentioned by Sidney Bliss in Loving. When Terence Philpot’s first date with Jenny Grubb, which is arranged by Sid’s company, the Wedded Bliss Agency, is a disaster, he’s given Miss Adams’s phone number; an extremely irate Mr Philpot soon reports back, though, that date number two was equally unsuccessful, which isn’t surprising considering Miss Adams was already five months pregnant.

CARRY ON ABROAD

Alternative titles … What A Package, It’s All In, Swiss Hols In The Snow

A Peter Rogers production.

Distributed through Rank Organisation.

Released as an A certificate in 1972 in colour.

Running time: 88 mins.

CAST

Sidney James Vic FlangeKenneth Williams Stuart FarquharCharles Hawtrey Eustace TuttleJoan Sims Cora FlangePeter Butterworth PepeKenneth Connor Stanley BluntHattie Jacques FloellaBernard Bresslaw Brother BernardBarbara Windsor Miss Sadie TomkinsJimmy Logan Bert ConwayJune Whitfield Evelyn BluntSally Geeson LilyCarol Hawkins MargeGail Grainger Moira PlunkettRay Brooks GeorgioJohn Clive Robin TweetDavid Kernan Nicholas PhippsPatsy Rowlands Miss DobbsDerek Francis Brother MartinJack Douglas HarryAmelia Bayntun Mrs TuttleAlan Curtis Police ChiefHugh Futcher JailerGertan Klauber Postcard SellerBrian Osborne Stall-HolderOlga Lowe Madame Fifi

PRODUCTION TEAM

Screenplay by Talbot Rothwell

Music composed and conducted by Eric Rogers

Production Manager: Jack Swinburne

Art Director: Lionel Couch

Editor: Alfred Roome

Director of Photography: Alan Hume BSC

Camera Operator: Jimmy Devis

Continuity: Joy Mercer

Assistant Director: David Bracknell

Sound Recordists: Taffy Haines and Ken Barker

Make-up: Geoffrey Rodway

Assistant Art Director: Bill Bennison

Set Dresser: Don Picton

Hairdresser: Stella Rivers

Costume Designer: Courtenay Elliott

Dubbing Editor: Peter Best

Assistant Editor: Jack Gardner

Titles: G.S.E. Ltd

Processed by Rank Film Laboratories

Producer: Peter Rogers

Director: Gerald Thomas

Vic Flange, a pub landlord, is going on holiday; he’s taking a short break to the Mediterranean resort of Elsbels without his missus, Cora, who hates flying. Not that Vic is worried because it gives him a chance to while away a few days with the flirtatious Sadie Tomkins. His plans are spoilt, though, when one of the regulars, Harry, spills the beans. Hearing that Vic’s off to Elsbels, he tells Cora that Sadie is going too, which makes Vic’s wife determined to overcome her aversion to flying to prevent Miss Tomkins getting her claws into her husband.

Vic, Cora and Sadie are joined by a rather disparate bunch, all taking advantage of Wundatours’ £17 break in the sun, consisting of Marge and Lily, two girls looking for a holiday romance; a group of missionaries searching for the tomb of St Cecilia; Stanley Blunt and his complaining wife, Evelyn; mummy’s boy Eustace Tuttle; the loudmouthed Scot, Bert Conway and a rather gay Robin Tweet and his friend, Nicholas. In charge of the party is the inefficient courier, Stuart Farquhar, and his assistant, Moira Plunkett.

On arriving at the Elsbels Palace Hotel it looks like a holiday from hell is on the cards: it resembles a building site more than a hotel; the switchboard is soon overloaded with complaints about bottomless drawers, taps that spew out sand and backless wardrobes looking straight through into the adjoining bedroom.

Stuart Farquhar (Kenneth Williams), the world’s worst courier

Under the spotlight at the Elsbels Palace Hotel

Despite the hotel only being half-built and builders causing a commotion from five in the morning, relationships blossom. While Brother Bernard, a missionary, forsakes the cloth upon taking a shine to Marge, Nicholas shakes off his camp boyfriend, Robin, to soak up the sun in the company of Lily.

When the holidaymakers head for the local village, with the exception of Evelyn Blunt who’s accidentally left behind at the hotel, Mr Tuttle causes trouble in Madame Fifi’s, a bawdyhouse, by asking the girls to play leapfrog; when he rushes back in brandishing a sword, others go in to help, resulting in a riot between the Brits and the police – even Brother Bernard gets involved when he spots a local bobby manhandling Marge.

As a result of the brawling, everyone spends the night in the police cells with attempts to negotiate their release with the Police Chief, who happens to be Madame Fifi’s brother, falling on deaf ears – that is until Moira uses her charm – and probably her body – to persuade the chief to give them back their freedom. By the time they return to the hotel, Evelyn Blunt is a changed woman, as Stanley soon finds out. Gone is the complaining and lack of interest in sex, replaced by a woman who, after whiling away the previous evening in the arms of Georgio, is making up for all those lost years – much to Stanley’s delight.

But at the evening’s farewell party the mood is far from conducive to having a laugh; that is until a secret love potion, bought at the local market, is poured into the punch. Before long, the party is swinging and even Pepe, the hotel manager, and Floella, the cook, are joining in the fun, despite the ramshackle hotel collapsing around them thanks to the evening’s torrential rain.

ADMIRAL

Played by Peter Butterworth

A randy old sailor in Girls who’s been a permanent resident at Fircombe’s Palace Hotel for years. He’s in his element when the hotel is overrun by beauty contestants, all hoping to be crowned Miss Fircombe, many of whom become victims of his bottom-pinching tendencies.

ADMIRAL OF THE FLEET

Played by Jack Lynn

Sir John is seen dining at the French Ambassador’s residence in Emmannuelle.

ADRIAN

Played by Julian Holloway

A highly-strung photographer who appears in Loving. He’s in turmoil because he’s looking for a big-chested lass for his next assignment and has offended his girlfriend, Gay, by suggesting she falls short of the requirements. His eyes nearly pop out of their sockets when the busty Jenny Grubb walks into the flat Gay shares with Sally Martin; he’s finally found what he’s been looking for and proceeds to launch Jenny’s modelling career advertising body stockings.

ADVANCED CRIMINOLOGY

This book, written by A.C. Ball, is read by PC Benson in Constable.

ADVERTISING FILM STUDIOS, THE

Based near Long Hampton Hospital, the film studios are mentioned in Again Doctor. While filming a commercial there, Goldie Locks slips on an enormous packet of baby food resulting in severe bruising. She’s taken to Long Hampton for examination, much to the delight of sex-mad Dr Nookey.

ADVERTISING MAN, THE

Played by Ian Wilson

Seen in the photographer’s studio in Regardless, the pint-sized advertising man hangs around to watch Francis Courtenay model his client’s beekeeping hat.

AGAIN DOCTOR, CARRY ON

See feature box here.

AGITATED WOMAN

Played by Hilda Fenemore

Seen in Constable, the agitated woman is desperate to spend a penny. When she realises she hasn’t got any change for the lavatory, she stops Constable Constable in the street and borrows it off him.

AGRIPPA

Played by Francis De Wolff

This bearded sailor in Cleo is in charge of the ship taking Caesar to Egypt.

AJIBADI, YEMI

Role: Witch Doctor in Up the Jungle

Born in Otta, Nigeria, in 1929, Ajibadi worked in clerical positions before moving to Sierra Leone and working in a department store. Although originally intending to emigrate to America, he ventured to England in 1953. He studied journalism and law at evening classes but changed direction when he began acting, making his professional debut at the Lyric Theatre, Hammersmith.

He made occasional television appearances in shows such as Armchair Theatre and Danger Man, and was seen in a handful of films, including three Hammer productions, and 1966’s Naked Evil.

Ajibadi, who returned to Nigeria in 1976 and spent four years helping establish a theatre company in Lagos, is also a playwright.

ALDERSHOT ROAD

A road mentioned in Cabby during the scene where Peggy and Sally are driving while held at gunpoint by crooks.

ALEXANDER, TERENCE

Role: Trevor Trelawney in Regardless

Despite countless film and television appearances during a long career, Terence Alexander, who was born in London in 1923, is probably best remembered for playing Jersey millionaire Charlie Hungerford in BBC’s detective series, Bergerac.

In repertory at sixteen, he forged a career for himself, mainly on the screen; usually cast in light roles, often with upper-class tones, his early film credits include The Woman of No Name, Death Is A Number, The Runaway Bus, Dangerous Cargo, Portrait of Alison, Danger Within and Breakout. He also appeared in the Norman Wisdom comedies, The Bulldog Breed and On the Beat.

His television roles include playing Bill Dodds in 1950’s Garry Halliday, Monty Dartie in 1960’s The Forsyte Saga, Malcolm in 1970’s Terry and June and Sir Greville McDonald in 1980’s The New Statesman.

ALEXANDER, WILLIAM

Assistant Art Director on Loving, Henry, At Your Convenience and Matron

As well as his involvement with the Carry On films, Alexander has worked on various big and small screen productions, including the television series Van der Valk, The Sweeney, Minder and Philip Marlowe – Private Eye. Other film credits include The Naked Runner and The Holcroft Covenant.

ALF

Played by Cyril Chamberlain

For Alf, the caretaker in Teacher, see ‘Hodgson, Alf’.

ALGERIAN GENT

Played by Derek Sydney

In Spying, when agents Simkins and Bind force their way into Hakim’s Fun House, they end up trying to kick a door down only to find they’ve picked the door of the toilet, which is occupied by a rather annoyed Algerian gent.

ALICE

An unseen telephonist working at F.H. Rowse, a department store in Constable. A shop assistant asks Alice to put her through to management because she wants to report potential shoplifters, who turn out to be rookie cops, Benson and Gorse, working undercover.

Alf Hodgson (Cyril Chamberlain, left) kept the corridors clean at Maudlin Street (Teacher)

ALLBRIGHT, MR

Played by Norman Chappell

Seen in Cabby, Mr Allbright is a driver employed by Speedee Taxis Limited. He’s also the firm’s shop steward. A pedantic individual who’s always consulting his union handbook to check his employer’s actions are legitimate.

ALLCOCK, MR

Played by Bill Maynard

Mr Allcock, the general secretary of the union in At Your Convenience, is called to W. C. Boggs and Son to try and help resolve the unofficial strike. But he’s a useless bureaucrat and does nothing to help the desperate Mr Boggs at a crucial time for the company’s future – or that’s how he would have been portrayed had he survived the final edit. (Note: the scene was cut.)

WHAT MIGHT HAVE BEEN

The workers at W.C. Boggs and Son are striking again and a meeting is arranged with the general secretary of the employees’ union to try and resolve the dispute.

EXT. THE WORKS – DAY

The wheels are at a standstill, the chimney’s dead, and there is no sign of life whatsoever.

EXT. THE WORKS YARD – DAY

A chauffeur-driven car purrs in. It comes to a stop in front of the works entrance. Vic, dressed fairly smartly and carrying papers, gets out and bows and scrapes to a large, stout, well-dressed, well-read, prosperous-looking gentleman getting out of the car. This is Mr Allcock, the general secretary of the union, who looks very sunburnt.

INT. BOGGS’ OFFICE – DAY

The Board Table has been set with paper and pencils, glasses and water jug for a meeting.

Boggs, Lewis and Sid are standing waiting tensely as the door opens and Withering looks in and whispers excitedly.

WITHERING: They’re here, Mr Boggs.

BOGGS: Show them in, please, Miss Withering.

(WITHERING disappears again and LEWIS turns to BOGGS.)

LEWIS: Now remember, Dad, be tough with them. We can’t afford to lose this contract.

BOGGS: Yes, yes, I know, Lewis.

(The door opens again and WITHERING ushers in ALLCOCK and VIC.)

VIC: Mr Boggs – this is our union general secretary, Mr All-cock.

BOGGS: How do you do, Mr Allcock. My son Lewis and Mr Plummer, our works foreman.

ALLCOCK: Pleased to meet you, gents. And sorry if I’m a bit late, but I had another stoppage this morning.

BOGGS: I’m sorry to hear that. You want to try Epsom salts. Marvellous stuff.

(ALLCOCK gives him a strange look.)

ALLCOCK: Work stoppage, I mean.

BOGGS: Oh, I beg your pardon.

ALLCOCK: Yes. Well, shall we get straight down to it then?

LEWIS: Good idea. We’ve already lost four days’ production over this.

ALLCOCK: Now, don’t let’s get off on the wrong foot, young feller. I’ve got a lot on my plate and I had to interrupt what little holiday I get to come ’ere today.

(As they sit …)

LEWIS: I’m sorry.

ALLCOCK: Not that I’m all that worried. Majorca’s a bit boring after the first three weeks or so.

(Confidentially to BOGGS.)

ALLCOCK: I got a deal going on for some building development there, you know.

BOGGS: How nice.

ALLCOCK: Yes. Do you fancy a piece?

BOGGS: (Shocked) I beg your pardon?

ALLCOCK: A plot of land!

BOGGS: Oh. No, I don’t think so, thank you. If we could just get down to business.

ALLCOCK: Yes, all right.

(He takes the open file from VIC and puts it in front of him.)

ALLCOCK: Well, I’ve had the basic facts from Spanner ’ere, and you know what your main trouble is, don’t you?

SID: Yeah. It’s the same old one about who does what job.

ALLCOCK: Ah yes, but the real basic trouble ’ere is – it’s an unofficial strike.

LEWIS: What does that mean, then?

ALLCOCK: It means my ’ands are tied. I can’t do a damn thing. Because it hasn’t got union approval, see?

BOGGS: Well, I’m delighted to hear that, Mr Allcock.

ALLCOCK: So your first step towards getting a settlement is to make it official!

BOGGS: Yes, but … how exactly can we make it an official strike if it hasn’t got union approval?

ALLCOCK: (Chuckles indulgently.) No, no, if you’ll forgive me for saying so, Mr Boggs, you’ve got it arse about face.

(BOGGS reacts coldly to this bit of crudity.)

BOGGS: If you’d care to translate that, Mr Allcock, I don’t understand these technical expressions.

ALLCOCK: What I mean is, the strike hasn’t got our approval simply because it is unofficial.

Make it official and we’ll damn soon approve it, don’t you worry!

LEWIS: All right then, just tell us how we go about making it official?

ALLCOCK: Very simple. We submit all the facts of the dispute to the Union Judiciary Committee. They’ll study them and pass on their recommendations to the Industrial Relations Committee. (Pause.) In due course of course.

LEWIS: How do you mean, in due course?

ALLCOCK: Well, the Union Judiciary Committee are over at a conference in Rio – and you know what that means, eh?

(He chuckles dirtily, nudges old BOGGS, and makes an expressive zig-zag gesture with his hand.)

BOGGS: Quite. Then how soon could we expect action to make it official?

ALLCOCK: Just as soon as the Industrial Relations Committee can study the recommendations and pass their findings on to the Direct Action Committee.

SID: Blimey, you seem to have more committees than the society for unmarried mothers!

ALLCOCK: Well, the Executive have got to have something to do, haven’t they?

LEWIS: (Getting angry.) All right, then what happens after all that, Mr Allcock?

ALLCOCK: I can tell you that all right. It’ll all be chucked right in my lap and I’ll have to hop on another plane back from Majorca, dammit.

BOGGS: Well, pending settlement, Mr Allcock, couldn’t you, as general secretary, recommend a full return to work?

ALLCOCK: Me? Listen, mate, if I was ever to make any clear-cut decision I’d be out on my ruddy arse!

SID: In other words, we can’t win.

BOGGS: Well, there wouldn’t be much point having unions if you could, would there?

(And he laughs jovially.)

BOGGS: This is madness, madness!

BOGGS: (Packing up.) You don’t ’ave to worry, Mr Boggs. Let matters take the normal procedure and I can promise you a quick settlement. With the usual bit of give and take from both sides, of course.

BOGGS: Yes … we give and you take!

ALLCOCK: (Getting up.) Ha ha, that’s very good, I like that. We give and you take. I’m glad you can see the funny side of all this, Mr Boggs. Well, I must be getting along now. Goodbye all, and I must say this meeting has been most useful. Most useful.

BOGGS: Goodbye, Mr Allcock.

(As ALLCOCK and VIC go out.)

SID: Well, all I can say is, whoever named him knew what he was doing!

CARRY ON AGAIN DOCTOR

Alternative titles … Where There’s A Pill There’s A Way, The Bowels Are Ringing, If You Say It’s Your Thermometer I’ll Have To Believe You, But It’s A Funny Place To Put It

A Peter Rogers production

Distributed through Rank Organisation Released as an A certificate in 1969 in colour

Running time: 89 mins

CAST

Sidney James Gladstone ScrewerJim Dale Dr James NookeyKenneth Williams Dr Frederick CarverCharles Hawtrey Dr Ernest StoppidgeJoan Sims Mrs Ellen MooreBarbara Windsor Goldie LocksHattie Jacques MatronPatsy Rowlands Miss FosdickPeter Butterworth Shuffling PatientWilfrid Brambell Mr PullenElizabeth Knight Nurse WillingPeter Gilmore HenryAlexandra Dane Stout WomanPat Coombs New MatronWilliam Mervyn Lord ParagonPatricia Hayes Mrs BeasleyLucy Griffiths Old Lady in HeadphonesHarry Locke PorterGwendolyn Watts Night SisterValerie Leon DeirdreFrank Singuineau PorterValerie Van Ost Out-Patients SisterSimon Cain X-Ray ManElspeth March Hospital Board MemberValerie Shute NurseShakira Baksh ScrubbaAnn Lancaster Miss ArmitageGeorgina Simpson Men’s Ward NurseEric Rogers BandleaderDonald Bisset PatientBob Todd Pump PatientHeather Emmanuel Plump Native GirlYutte Stensgaard Trolley NurseGeorge Roderick WaiterJenny Counsell Night NurseRupert Evans Stunt OrderlyBilly Cornelius Patient in PlasterHugh Futcher Cab DriverFaith Kent Berkeley Nursing Home Matron

PRODUCTION TEAM

Screenplay by Talbot Rothwell

Music composed and conducted by Eric Rogers

Production Manager: Jack Swinburne

Art Director: John Blezard

Editor: Alfred Roome

Director of Photography: Ernest Steward BSC

Camera Operator: James Bawden

Assistant Editor: Jack Gardner

Continuity: Susanna Merry

Make-up: Geoffrey Rodway

Assistant Director: Ivor Powell

Sound Recordists: Bill Daniels and Ken Barker

Hairdresser: Stella Rivers

Costume Designer: Anna Duse

Dubbing Editor: Colin Miller

Producer: Peter Rogers

Director: Gerald Thomas

Applying the final touches to Ernest Stoppidge (Charles Hawtrey)

Down to the bare facts for Barbara Windsor

At the Long Hampton Hospital, Dr Nookey seems to attract trouble, beginning with an incident in the women’s washroom, which he’d mistakenly entered, frightening the highly-strung Miss Armitage out of her senses. Nookey’s carefree manner isn’t to everyone’s liking at the hospital, with Dr Stoppidge wanting Nookey sacked for the washroom incident; there isn’t any love lost between Nookey and Dr Carver either, but Carver ignores Stoppidge’s request for Nookey’s sacking.

Carver, meanwhile, has his sights set on his own private clinic where he can treat affluent private patients, like Ellen Moore, a lonely widow who’s longing for a little romance in her life again; in Carver she sees a man who might provide that, but all he’s interested in is finding a way not to her heart, but her purse; he wants her to turn his dream into reality by financing the Frederick Carver Foundation and tries to woo her, courtesy of a few chat-up lines borrowed from Dr Nookey, at the hospital’s grand buffet and dance. His plans fail dismally.

When she asks Carver to find a replacement for the doctor’s post in a medical mission she established on the far-off Beatific Islands, he thinks it’s impossible to find someone daft enough to work in such an outpost, but then his mind focuses on Dr Nookey. When the young doctor, who has his drinks spiked by Dr Stoppidge, causes more mayhem at the hospital, he faces the hospital’s disciplinary committee. Spotting an opportunity to fill Mrs Moore’s vacancy at her mission, Dr Carver appeases the committee’s concerns over Nookey by offering him a last chance to save his career. Within hours he’s flying off to the Beatific Islands, tiny specks of land battered by rain and hurricanes; he soon realises his life is in the doldrums, that is until he discovers something which will make his fortune in England. Courtesy of an unsuspecting Gladstone Screwer, a serum causing drastic weight loss within days makes Nookey a millionaire when he finally returns to home shores and forms his own private clinic in partnership with none other than Ellen Moore.