| Terry-Thomas | ... | Cadogan de Vere Carlton-Browne | |
| Peter Sellers | ... | Señor Amphibulos - the prime minister | |
| Luciana Paluzzi | ... | Her Serene Highness Princess Ilyena (as Luciana Paoluzzi) | |
| Ian Bannen | ... | Young King Loris | |
| Thorley Walters | ... | Colonel Bellingham of the Bays | |
| Raymond Huntley | ... | Foreign Secretary Tufton Slade | |
| Miles Malleson | ... | Resident Advisor Davidson | |
| John Le Mesurier | ... | Grand Duke Alexis | |
| Marie Lohr | ... | Lady Carlton-Browne | |
| Kynaston Reeves | ... | Sir Arthur Carlton-Browne | |
| Ronald Adam | ... | Sir John Farthing | |
| John Van Eyssen | ... | Hewitt | |
| Nicholas Parsons | ... | Rodgers | |
| Irene Handl | ... | Mrs. Carter | |
| Harry Locke | ... | Commentator | |
| Basil Dignam | ... | Security Officer | |
| Sam Kydd | ... | Signaller | |
| Robert Bruce | ... | Major in Commandos | |
| John Glyn-Jones | ... | Newsreel Interviewer | |
| Marianne Stone | ... | Woman in Cinema | |
| Kathryn Keeton | ... | Sexy dancer | |
| Margaret Lacey | ... | Onlooker | |
| Robert S. Young | ... | Archivist (as Robert Young) | |
| rest of cast listed alphabetically: | |||
| Andre Charisse | ... | Russian Minister (uncredited) | |
| Alexis Chesnakov | ... | 1st Russian Scientist (uncredited) | |
| Maurice Colbourne | ... | 1st Official (uncredited) | |
| Fiona Davie | ... | Minor Role (uncredited) | |
| John Drake | ... | Minor Role (uncredited) | |
| James Dyrenforth | ... | Admiral (uncredited) | |
| Mario Fabrizi | ... | Deputy Minister (uncredited) | |
| Kenneth Griffith | ... | Sir John's Assistant, Griffths (uncredited) | |
| Julie Hopkins | ... | Dancer (uncredited) | |
| Harold Kasket | ... | Minor Role (uncredited) | |
| Kaplan Kaye | ... | Minor Role (uncredited) | |
| Marne Maitland | ... | Archipolagos (uncredited) | |
| Mark Milleham | ... | Child (uncredited) | |
| Michael Partridge | ... | Commandos Captain (uncredited) | |
| John Payne | ... | Junior Official (uncredited) | |
| Bill Rayment | ... | 2nd Russian Scientist (uncredited) | |
| Austin Trevor | ... | Secretary General (uncredited) | |
| Michael Ward | ... | Hotel Manager (uncredited) | |
| Ian Wilson | ... | Onlooker (uncredited) | |
Directed by | |||
| Roy Boulting | |||
| Jeffrey Dell | |||
Writing credits | ||
| Jeffrey Dell | (original story) & | |
| Roy Boulting | (original story) | |
| Jeffrey Dell | (screenplay) & | |
| Roy Boulting | (screenplay) | |
Produced by | |||
| John Boulting | .... | producer | |
| Roy Boulting | .... | producer | |
Original Music by | |||
| John Addison | |||
Cinematography by | |||
| Mutz Greenbaum | (as Max Greene) | ||
Film Editing by | |||
| Anthony Harvey | |||
Art Direction by | |||
| Albert Witherick | |||
Costume Design by | |||
| John McCorry | (as John McCorrie) | ||
Makeup Department | |||
| Bobbie Smith | .... | hair stylist | |
| Freddie Williamson | .... | makeup artist | |
Production Management | |||
| Henry Passmore | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Philip Shipway | .... | assistant director | |
Sound Department | |||
| Red Law | .... | dubbing recordist | |
| Jim Shields | .... | dubbing editor (as James Shields) | |
| George Stephenson | .... | sound recordist (as George Stevenson) | |
Camera and Electrical Department | |||
| Peter Allwork | .... | assistant camera | |
| Ray Sturgess | .... | camera operator | |
Costume and Wardrobe Department | |||
| John McCorry | .... | wardrobe supervisor (as John McCorrie) | |
Editorial Department | |||
| John Poyner | .... | assistant editor | |
Music Department | |||
| John Addison | .... | conductor | |
Other crew | |||
| Barbara Cole | .... | continuity | |
|
|
|
|
|
| The Manchurian Candidate | Bulworth | Children of the Revolution | Charlie Wilson's War | Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb |
|
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
| Full cast and crew | Company credits | External reviews |
| IMDb Comedy section | IMDb UK section |
This film, though ostensibly a comedy, is deadly serious. Its subject is Imperialism (with a capital I): how Britain, foolishly, humiliatingly, tries to convince itself that it's still a great power after World War II. At home, the Empire is run by amiable dolts, benevolent Tories who are so in-bred that they can't distinguish close relatives; the Offices of Government consist of long forgotten archives (a dig at Orwellian paranoia?), inhabited by indolent rats, and ante-rooms wherein lounge bored synacures, reading popular novels.
Abroad, Britain clings to the old pomp; but pomp out of context looks threadbare and silly, especially when its embodied in bumbling twits. Carlton-Browne is an unsentimental picture of decline, with none of the lachrymose rot that marred the supposedly anti-imperialist Jewel in the Crown.
The film is also about the Cold War, bravely admitting that it's a dangerous farce, whose participants deserve mockery and contempt, not fear and respect. It's about how colonialism, characterised more by neglect than tyranny, destroys the colonies it deserts, robbing them of amenities, power, and, most importantly, self-respect, leaving them vulnerable to the machinations of dangerous cowboys.
It's the seriousness, of course, that kills it. That's not to say that weighty subjects can't be treated in comedy - The Miracle Of Morgan's Creek, Dr. Strangelove and The Life Of Brian have all proved that. Indeed, one might suggest that serious themes should only be treated by comedy - it allows for a clearer-eyed view.
The problem with Carlton-Browne is that every situation must have a significance beyond the merely comic, so that it becomes weighed down and unfunny. In the three films mentioned above, much of the comedy arises from character reaction to an extreme situation, not the extreme situation itself. Here, the script is too poor to sustain rich comic characterisations, and some of the greatest comedy talent ever assembled - Peter Sellers, Terry-Thomas, Raymond Huntley and John le Mesurier - are criminally wasted.
Terry-Thomas, sublime so often, shows that he couldn't handle lead parts, and that he needed to play sneering, arrogant bounders, not brainless toffs. The music is made to carry much of the comedy, but its heavy irony only draws attention to the lack of hilarity on screen. (To be fair, unlike the majority of British comedies of the period, which were stagy and underproduced, the Boultings often try to make their points through film itself, by montage and composition) Only Huntley manages to raise genuine laughs, and that's by essaying a character he could have played in his sleep.
None of the Boultings' farces have dated well - they're never thought through enough. Although Carlton-Browne revels in the decline of the Empire, it also seems to be anti-democratic and militaristic. I'm sure this wasn't intended, but these blunders are bound to happen if you allow worthy intentions to take precedence over comic intelligence and film form.