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Cor, Blimey! (2000)

Dramatisation of the love affair between Sidney James and Barbara Windsor, played out against the backdrop of the 'Carry On' films during the 1960s and 1970s.



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Cast overview, first billed only:
Jacqueline Defferary ...
Geoffrey Hutchings ...
David McAlister ...
Jason Round ...
Clapper Loader
Bernard Bresslaw
Hugh Walters ...
Alan Barnes ...
1st Assistant Director
Maria Charles ...
Charlie's Mum
Chrissie Cotterill ...
Alice Bailey Johnson ...
Derek Howard ...
Kenneth Connor
Richard Vanstone ...


Star actors in the popular British 'Carry On' screen farces Sid James and Kenneth Williams have disliked each other since they acted on radio in the mid-1950s. Ten years later the feud still continues. Chirpy young actress Barbara Windsor arrives to appear in the series and Sid, though married, pursues her. Believing that he will be satisfied after a one night stand Barbara goes with him but this is the start of an affair which will last until the mid 1970s, shortly before Sid's death whilst touring in a play. After Sid's demise Kenneth assures Barbara that she was not responsible and she, in turn, encourages him to enjoy life more. Written by don @ minifie-1

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Drama | Romance





Release Date:

24 April 2000 (UK)  »

Company Credits

Production Co:

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Sound Mix:


Aspect Ratio:

1.78 : 1
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Did You Know?


Based on Terry Johnston's play "Cleo, Camping, Emmanuelle and Dick", performed in the Royal National Theatre in London, UK. Many members of the original cast - including the three leads Samantha Spiro, Geoffrey Hutchings and Adam Godley - reprised their original stage roles for this adaptation. See more »


Many of the vehicles (trucks, etc) shown in scenes set in the 1960s are from the 1980s See more »


Sid James: [about Ronnie Knight, Barbara's first husband] He knocks about with the Krays, doesn't he?
Barbara Windsor: No he doesn't. I do.
See more »


References Carry on Emmannuelle (1978) See more »

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User Reviews

Fond Look Back to A Cast That Gave Hearty Laughs to Many
13 November 2008 | by (United States) – See all my reviews

In the U.S. in the 60's and into the early 70's the 'Carry On' films were telecast as Late - or more usually, as Late, Late Shows: in the age before wall-to-wall content/media these films were, in the States, filler fare - almost throwaways, because it's likely that U.S. distributors didn't, or couldn't, demand or get great sums for the 'Carry On' films from broadcasters who used them to flesh-out (pun definitely and cheekily intended!) their late-night schedules. But whenever a 'Carry On' film aired I did my best to see and enjoy it - there's just something so utterly and unselfconsciously charming about them that made them irresistible to me. (My favorite, by the way, is 'Carry On, Sergeant,' because it features the brilliant, and under-appreciated - at least on this side of the Pond, William Hartnell.) The 'Carry On' films are from a time when good, clean fun could be and was enjoyed, a time before the soul-corroding rubbish of political correctness and the supercilious hypersensitivity with which it burdened life in all of its dimensions except for the realm of the individual's soul, hadn't yet begun to darken everyone's doorway and to dumb-down and dull to death what now passes for education, newspapers, and television and theatre; it was also a time before we let our children be soaked in the properly adult matters of sex and sexuality - and yet even children could and did enjoy the 'Carry On' series. It was a time in which harmless titillation and suggestiveness allowed viewers' imaginations to do their own good and joyous work; it was nothing like nowadays when the Beeb, and much of Hollywood, vomits monotonously nothing but dull Orwellian multi-culti preachiness and strictures - which are far worse than "liberal" and "progressive" critics of the foregoing vibrant and delectable "monoculture" have had the imagination to have yet grasped (heaven forfend that anyone should scandalize a Mohammedan or offend another nunnish radical feminist to anguished despond and spitefulness). It was the existence of the now dead and late lamented, at least by me, monoculture's healthful customs and manners that made the Carry On films the widely enjoyed success that they were; nowadays, with the so-called barriers to everything and anything (except, obviously, to genuineness and to the decency which it begets and widespreads) having been demolished, and all babies having been thrown out with the bath water of the monoculture's supposedly unique and malicious "Eurocentric" hypocrisy, the consequent lack of spontaneity and decency have yielded nothing but Orwellian dullness and monotony which the monoculture's detractors had supposed themselves to be gloriously relieving us of. It was the existence of sound rules and healthful customs that made funny business funny; now that all those old rules have gone, the lack of rules and "barriers" (except, of course, those prescribed for us by our self-vaunted "correct" elites who have replaced the people we once knew to be our betters) has rendered nothing funny and everything grim and seedy and contentious - 'Much Ado About Nothing' indeed.

U.S. 'Carry On' film fans saw very little of the UK publicity for, or British gossip sheets' focus on, the 'Carry On' cast members, so I ought to take 'Cor, Blimey!'s' account of the James-Windsor affair with a large grain of salt; and comments made by Britons here on IMDb, having pointed out the film's taken licenses and liberties, I feel that grain of salt is a proper one to take. It was filmed on a very low budget as its resort to extant, ready-to-hand cinema sets, props, and costumes testifies amply; and yet, like the 'Carry On' films themselves, 'Cor, Blimey!' has its own irresistible charms because it's well-cast, well-played and, almost throughout, astutely written from an ear finely attuned to the sensibilities of its period and the milieu in which James and Windsor carried on their affair. Despite its lackluster editing and somewhat muddy soundtrack, I enjoyed it immensely, and so with great enthusiasm I recommend 'Cor, Blimey!' to everyone who's ever enjoyed - even secretly lest they dread to suffer accusation of deserving to belong to the vulgar mass or, perhaps worse, to one or another of the so-called "Oppressor classes" - a good old, pull-the-bung-out (but only halfway, because it's always far funnier when your imagination does the really funny work) hilarious 'Carry On' film.

Now, since "Vanity of vanities; all is vanity," let men go out and stare unselfconsciously at greater and lesser bosoms and let women giggle gleefully at the men making fools of themselves. Carry On, All!

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