ThiefHott Too much of everything

TrueHello Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

Matylda Swan It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

Guillelmina The film's masterful storytelling did its job. The message was clear. No need to overdo.

BA_Harrison Sid James plays Charlie Hawkins, workaholic owner of Speedee Taxis, the only cab firm in town. After repeatedly ignoring his long-suffering wife Peg (Hattie Jacques) in favour of picking up fares, Charlie finds himself unexpectedly facing competition from his miffed spouse, who secretly sets up rival taxi company GlamCabs, featuring all female drivers.From the above synopsis, one might think that this film intends to strike a blow or two for feminism, but this being a Carry On film from the early sixties, it quickly becomes apparent that fighting for sexual equality isn't the film's primary motive. With GlamCabs only employing women with an hour-glass figure and a cracking sets of pins, the film's 'battle of the sexes' plot is actually a thinly veiled excuse to fill the screen with cracking crumpet.Not that I'm complaining: the leggy lovelies, whose number include the fabulous Amanda Barrie (who would go on to star as Queen Cleopatra in Carry On Cleo), not only provide viewers with quality eye-candy (especially in the scene where Kenneth Connor, disguised as a woman, is ushered into the ladies changing room), but also plenty of laughs as they use their impressive womanly attributes to steal Hawkin's business.6.5 out of 10, rounded up to 7 for IMDb.

Leofwine_draca Despite the matrimonial strife that makes up the majority of the plot, CARRY ON CABBY has to be one of the warmest of the long-running series - and it also contains some of the funniest jokes. The story, about Sid James's taxi business coming under threat from his wife's all-female cabbie firm, is the perfect back story for all manner of the usual hijinks.With the absence of Kenneth Williams and Joan Sims (and Kenneth Connor in a more minor role than usual), the whole film pivots on the presence of Sid James himself, and he's at the top of his game. Half the film allows him the kind of round-the-kitchen-table angsty argument that he did so well in BLESS THIS HOUSE, while the other half sees him involved in some cracking gags as he drives his cab.The opening sequence - the best in a CARRY ON, accompanied by a wonderfully jaunty score - sets things off admirably, with the kind of verbal humour that these films did so well ("She's got out of the box!"). It soon follows with one of the funniest ever scenes in which James contends with his wife on the radio, a miserable passenger in the back seat, and all manner of road hogs outside. Forget such overused lines from this series like "Infamy, infamy, they've all got it in for me", the "Move over and give us a bit of room, mate!" joke is THE best of the whole canon.After some notable absences earlier in the series, Hattie Jacques bags a meatier role than usual and runs away with it. Charles Hawtrey is also in the frame for much longer than expected and is involved in some great slapstick moments, while Jim Dale pops up in his first appearance in this series and Milo O'Shea proves a strong addiction to the regular cast. The presence of the pretty actresses is another plus, and Gerald Thomas does well to never let his camera leer as in later instalments. Altogether, CARRY ON CABBY is a delight.

Robert J. Maxwell I wish I could get with this series. I seem to remember enjoying one or two when they were first released. But now, years later, they mostly add up to a not very successful television comedy program dependent on weird-looking characters, slapstick, and weak jokes. This one centers around the conflict between the love-starved Hattie Jacques and her cabby husband, Sid James. There is an abundance of ancillary characters.I'll give an example of the humor. Charles Hawtrey, who looks like my Grandma, is constantly falling over things, frequently while carrying some delicate objects like tea cups. He falls over empty petrol cans, a table, and so forth. His goal: to become a cab driver.Hawtrey shows up at the cab company and applies for a job. His name is "Terry Tankard" but the boys all call him "Pint pot" -- "because of my name, Tankard, you see?" Sid James squints at him oddly and asks, "You're sure it was PINT pot?" (Joke.) It's all very cheerful, from the jaunty opening tune, and very working class in its plot, its humor, and its characters. And that was probably the intent. Keep it simple and only slightly off color. It probably amused undemanding audiences.But the industry in Britain was capable of far more than this sort of thing. I'll only mention the Ealing comedies of the 50s and early 60s in passing. Maybe my neurology has evolved (or devolved) but the Carry On series seems much less impressive now than it did in the early 60s. Not insulting and not dated, just a bit stale. I can imagine others finding the more amusing.

w_e_m_m Charlie Hawkins (Sid James)is the workaholic owner of Speedee Cabs and Peggy Hawkins (Hattie Jacques) is his loved but neglected wife. The film opens with Charlie out in a cab on their wedding anniversary while his chief mechanic Ted (Kenneth Connor) covers for his absence. Meanwhile accident-prone Terry Tankard of "Pintpot" has come for a job as a cab driver.Later that day while short of drivers Charlie has agree to squeeze in one last fare before going to town with Peggy, Ted & Sally (Liz Fraser) the canteen girl. Unfortunately on his way home he and Pintpot are stopped by an expectant father (Jim Dale in his first appearance) whose wife is not sure if she is or is not having her baby. By the time she has given birth in the back of his cab he is far too late to take out Peggy.Next morning Peggy decides to teach him a lesson and as he thinks of nothing but cabs she'll give him a few more to worry about. To that end she goes about setting up Glam Cabs with the wife of one of her husbands drivers, Flo (Esma Cannon) and Sally as their mole. Her secret formula? Only hire the loveliest females drivers to entice the mainly male clientèle.A series of escapades follow that lead to the collapse of the Hawkins marriage when the truth comes out. However all things are put aside when Peggy & Sally are hijacked on their way to the bank by crooks (Peter Gilmore & co). A car chase ensues, using cab radios and the entire Speedee cab fleet to herd and then corner the crooks and ladies on the heath.With gems like Carry On Cabby it is easy to see why the series became popular. As this is only the seventh film of the series (31 in total) the cast appear fresh and to be throwing themselves into this film. It is also free from the smuttiness of the later films.The "Carry On" moniker while added to help with the appeal of this film on its release I think today it does it a disservice. The series has come to represent that very dated comedy of double entendres and dirty postcards on the pier. Whereas this film is different from most other entries being plot driven with fewer jokes and a more innocent sort of humour.I can fully appreciate why Jacques felt this was her favourite performance. It makes a enjoyable change to see her in the sympathetic female lead rather than the monstrous matron persona. She has an enormous versatility that I personally think was overshadowed by her roles in these films. James' performance is likewise very pleasing as the workaholic business owner who is content with his wife rather than lusting over a Barbara Widsor character (Camping, Henry, Girls, Abroad etc).Liz Fraser is sublime in the role that is popularly referred to as the Joan Sims role. While I like Joan Sims very much I think this supporting role is filled perfectly by Frazer.The absence of Kenneth Williams, while often noted as "conspicuous" does in no way detract from this film. It in fact makes an amiable change to see the cast interacting without him.Other ares of this film that are worth noting are the gorgeous Amanda Barrie as the corseted Glam Cab driver, the score which is easily the most pleasing of any Carry On film and the relatively sedate car chase at the end which while not as lively as modern car chases certainly has its own charm. Also the views of Windsor in the early 60s are very interesting.This is certainly one of my favourite Carry On films and a brilliant start for a newcomer to the series and one of my favourite films generally for the last 20 years.