Captain S. Melly takes over as the new Commanding Officer at an experimental mixed sex air defence base. It's 1940 and England is under heavy bombardment, but the crew seem more interested ... See full summary »
Captain S. Melly takes over as the new Commanding Officer at an experimental mixed sex air defence base. It's 1940 and England is under heavy bombardment, but the crew seem more interested in each other than the enemy planes above. Captain Melly plans to put a stop to all this, and becomes the target of a campaign to abandon his separatist ideals... Written by
Simon N. McIntosh-Smith <Simon.N.Smith@cs.cf.ac.uk>
The film was poorly received by the public and was pulled by some cinemas three days after opening. It only recovered the production cost after sales to television companies and international releases. See more »
When the toggle on the gun is pulled back that supposedly injures Captain S. Melly's fingers, it doesn't actually make contact with them. See more »
There was an urban myth doing the rounds back in the seventies that this film was part-financed by the Beatles' Apple Corps company. If that is the case, then the fab four must have ingested more dodgy chemicals than anyone would have thought possible, because this is as bad as it gets. Patrick Mower and Judy Geeson are to comedy acting what sealions are to light engineering, and every moment they're on screen you'll want to hide behind the furniture. Kenneth Connor has little to do that isn't embarrassing in some way (his impersonation of a Nazi plane has to be one of the most cringe-making moments in the history of cinema) and the few loyal Carry On team members who could be bothered to turn up for this lazy, crude, shambolic outing are thrown away in cameo parts. The only part that raised a smile with me was Diane Langton attempting to operate the steering mechanism on the anti-aircraft gun, only to be thwarted by her protuberant bosom. Then Peter Jones, whose lines are intentionally awful but rendered even worse by his drab playing, completely kills the scene with his comment about "keeping abreast of the situation". One can only dream of what Talbot Rothwell (the screenwriter who bowed out of the series two years before) would have had Sidney James saying about this seaside postcard scenario...
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