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Carry on Henry VIII (1971)

Carry on Henry (original title)
GP | | Comedy, Romance | March 1972 (USA)
Henry VIII has just married Marie of Normandy, and is eager to consummate their marriage. Unfortunately for Henry, she is always eating garlic, and refuses to stop. Deciding to get rid of ... See full summary »

Director:

Gerald Thomas

Writer:

Talbot Rothwell (screenplay)
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Cast

Cast overview, first billed only:
Sidney James ... King Henry VIII
Kenneth Williams ... Thomas Cromwell
Charles Hawtrey ... Sir Roger de Lodgerley
Joan Sims ... Queen Marie
Terry Scott ... Cardinal Wolsey
Barbara Windsor ... Bettina
Kenneth Connor ... Lord Hampton of Wick
Julian Holloway ... Sir Thomas
Peter Gilmore ... King Francis of France
Julian Orchard ... Duc de Poncenay
Gertan Klauber Gertan Klauber ... Bidet
David Davenport David Davenport ... Major Domo
Margaret Nolan ... Buxom Lass
William Mervyn William Mervyn ... Physician
Norman Chappell Norman Chappell ... First Plotter
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Storyline

Henry VIII has just married Marie of Normandy, and is eager to consummate their marriage. Unfortunately for Henry, she is always eating garlic, and refuses to stop. Deciding to get rid of her in his usual manner, Henry has to find some way of doing it without provoking war with Marie's cousin, the King of France. Perhaps if she had an affair... Written by Simon N. McIntosh-Smith <Simon.N.Smith@cs.cf.ac.uk>

Plot Summary | Add Synopsis

Taglines:

A Great Guy with his Chopper

Genres:

Comedy | Romance

Certificate:

GP | See all certifications »
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Details

Official Sites:

Carry On Line

Country:

UK

Language:

English

Release Date:

March 1972 (USA) See more »

Also Known As:

Carry on Henry VIII See more »

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Box Office

Budget:

£250,000 (estimated)
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Harry Secombe was considered for Henry VIII when it appeared that Sidney James may not be available due to possible stage commitments. See more »

Goofs

Towards the end of the film, when Lord Hampton and his men are preparing to rescue Queen Marie from the Tower, the gunpowder fuse used to blow up the gates goes out. When it does, you can see the line of gunpowder is about an inch too short and does not reach the barrel, meaning it was meant to go out in the first place. See more »

Quotes

Cardinal Wolsey: A drink, Ma'am?
Queen Marie: Thank you.
Cardinal Wolsey: I can heartily recommend the porter here.
Queen Marie: Really? Then do send him up to my room later.
See more »

Crazy Credits

Opening credits: This film is based on a recently discovered manuscript by one William Cobbler which reveals the fact that Henry VIII did in fact have two more wives. Although it was at first thought that Cromwell originated the story, it is now known to be definitely all Cobbler's........ from beginning to end. See more »

Alternate Versions

The scene in the barn where Sidney James has a rough and ready encounter with Margaret Nolan is often trimmed for television screenings. See more »

Connections

Follows Carry On Jack (1963) See more »

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User Reviews

The best ever film about Tudor Britain, entertainment as Shakespeare would have known it.
17 September 1999 | by alice liddellSee all my reviews

For most spoofs, the holy grail is to make so ridiculous the subject of attack that it will be impossible to take it seriously again. AIRPLANE! achieved this with the AIRPORT series, admittedly an easy target. CARRY ON HENRY may not have had quite the same effect - such is the unshakeable British obsession with the past, one of the film's main targets - but it's always nice to see that someone else found A MAN FOR ALL SEASONS and THE LION IN WINTER to be pompous tripe as well.

HENRY, like CARRY ON UP THE KHYBER, is an example of a modest franchise miraculously finding an appropriate subject and creating a work of art. It may lack the jawdropping Bunuellian genius of KHYBER, but it has its own juicy pleasures. The jokes are franker than were usual at this point, but clever rather than crude, and funny when they were crude.

This is also the last time the cast would be as brilliant as this - a well-oiled machine perfectly in control of the material. Kenneth Williams is aptly, hilariously Machiavellian; Charles Hawtrey is endearingly inappropriate as the brave knight and lover who undergoes all sorts of horrible tortures for his Queen - the heterosexual potency of these obviously gay stars are an uproarious counterpoint to the macho King's unsuccessful promiscuity. Joan Sims is glorious as ever as the ample, lascivious, French, garlic-obsessed Queen. But it is the godlike Sid James who rightly walks away with the film, cinema's best ever King Henry. The merging of his usual persona - the chuckling lecher who is repeatedly thwarted in his amorous endeavours (itself a remarkable comment of tyranny throughout the ages), married to a sex-mad woman he can't abide - with the portrayal of an historical icon creates satire of great depth.

Whereas the aforementined, Oscar-garlanded pageants are rigidly respectful of English history, HENRY is breezily sceptical. Rather than search for continuity with the past, or examine various notions of Englishness, HENRY is very modern in its rejection of a certain kind of history, the meticulous reconstruction of a mythic past that can teach us about the present. HENRY knows that the past can only be viewed through the prism of the present, that history is a fluid, ever vanishing, entity, always reinterpreted to each generation's needs. The film quite clearly sets out its stall of bogusnes - it is based on recently discovered documents by William Cobbler - only to show how unreliable our grasp of history is; how it's always told in somebody's vested interests, at the expense of someone else.

The film therefore prefigures the awesome Monty Python deconstructions of the 70s, with jokes about the Labour government, and with King's wenches who demand payment before favours, and whose fathers complain about taxation. The reduction here of English history to an aristorcratic bedroom farce is a more profound insight than any 'serious' epic has ever managed.


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