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The Bananas Boat (1976)
"What Changed Charley Farthing?" (original title)

 -  Comedy  -  January 1976 (USA)
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Ratings: 4.1/10 from 57 users  
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Charley Farthing is on the run. Chased by an irate husband with murder on his mind, Charley finds himself hopping on a ship, chased by authorities on a politically turmoiled island and ... See full summary »



(novel) (as Mark Hebden) , (screenplay), 1 more credit »
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Cast overview, first billed only:
Charley Farthing
Alberto de Mendoza ...
Fernando Sancho ...
Luis Marín ...
Víctor Israel ...
Dilys Hamlett ...
Miss Parchment
Elsa Zabala ...
Rafael Vaquero ...
Irate Husband
Milvia Piazza ...
Girl in bed
Ricardo Palacios ...
Greek Captain
Ana Marzoa ...
Concha Hombria ...


Charley Farthing is on the run. Chased by an irate husband with murder on his mind, Charley finds himself hopping on a ship, chased by authorities on a politically turmoiled island and forced to skipper an old ship all the way to Ireland! Written by Nasser <>

Plot Summary | Add Synopsis


Go Bananas with the wackiest ship to ever hoist anchor!




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Release Date:

January 1976 (USA)  »

Also Known As:

The Bananas Boat  »

Box Office


ESP 9,150,595 (Spain) (3 March 2000)

Company Credits

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Technical Specs


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Did You Know?


What Changed Charley Farthing?
Written by Dominic Bugatti & Frank Musker
Arranged by Martyn Ford
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User Reviews

Not Even A Suspicion Of Intelligence Is To Be Found In Tiresome Film Animated By Nothing.
22 July 2011 | by (Mountain Mesa, California) – See all my reviews

This weakly constructed film, originally titled "What Changed Charlie Farthing" for its initial showing in the United Kingdom, offers nary a whisper of wit that might attract an astute audience, as logic and continuity are murdered during its progression. A nonsensical plot is set in an island nation, obviously modeled upon Fidel Castro-led Cuba. Before a viewer embarks upon watching this pointless affair, a perusal of the VHS box, issued by United Entertainment, will reveal several name misspellings, such as those of the movie's writers, and the composer of its score. First telecast during 1974 in England, the piece was then seen two years after in the United States where it has not been well-regarded, many viewers finding that the narrative suppresses any chance of its being acceptable to even undiscerning audiences. The picture was filmed in Spain, posing as Cuba, and also at London's Pinewood Studios. Its plot can not be at issue, as there actually is none. American television favourite Doug McClure plays as Charlie Farthing here, an American scamp who is commandeered by a purported arms runner named Houlihan (Lionel Jeffries) for the purpose of serving as skipper of a wounded but serviceable ship bound for Eire, purpose of its voyage not mentioned in the screenplay. The film has been somewhat popular in Spain, probably due to the fact that nearly all of the stuntmen, extras, and secondary character actors are based in that nation and any of their dialogue is in Spanish, thereby limiting utilization of the movie's poorly accomplished dubbing to the three principal players, McClure, Jeffries and, cast as Houlihan's stepdaughter, Hayley Mills, a trio of performers whose patent lack of acting skill converges at a level appropriate to the flabbily composed scenario. In either case of being shot at Pinewood or in Spain, the risible stuntwork remains at the same level (low) as is most of the production, with no portion of the storyline making much sense, although the rapid pace set by editing is certainly an aid to a viewer whose patience might be tried while attempting to ken the film's purpose. Mills, popular younger sister of a more talented Juliet, and daughter of famed thespian John, is indulgently cast, having little to do, with her scenes happily and substantially cut through the post-production editing process. Her distressingly thin appearance might well be utilised to promote the advancement of anorexia, removing her thereby from any potential erotic interplay with an unbridled McClure. This actor, popular upon American television during the 1950s, 1960s, and 1970s, performs here as a young man full of a zest for love, clearly not matched by the scrawny Mills. Jeffries, shamelessly mugging in a role just precisely as pointless as is the entire film, is plainly not interested in creating a part based on his admittedly witless lines.

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