On paper this could have been one of the funniest Carry On features, with plum parts for Sid James as Henry VIII and Kenneth Williams as the King's schemer-supreme Thomas Cromwell, but after the written prologue which describes what follows as a load of old Cobblers, I found little else to amuse me in this irreverent romp through Tudor England. This time, I found the bombardment of unsubtle innuendo and the casually sexist treatment of women in the film to be predictable and wearing, with too few funny lines to alleviate the smutty stream which pretty much permeates the whole film.All the women are treated as sexual objects and are all, it seems, dressed with low-cut gowns leaving the menfolk to gawk at and grope them at will. Like so many other low-brow British comedies of the time on screens both big and small, this un-P.C outlook towards females really has dated very badly and lacks the saving grace of genuinely funny gags. Old troopers like James, Williams and Joan Sims try hard but even with them it's possible to detect a discernible going through the motions and by the time we get to see Barbara Windsor's bare bottom well into the film, it's obvious that the series's best days are behind it (no pun intended).At its best, as in say, "Carry On Cleo", "Carry On Cowboy" or "Carry On Up The Khyber", the series had lots of funny characters and a ready, typically saucy British seaside humour which made them easy to watch and chuckle along to. However this jaded effort really lets the side down and makes for a weak entry in its long-running history.

Carry On Henry tells of Henry VIII's other two wives, the ones that history forgot to mention: ample, French, garlic-munching Queen Marie (the delightful Joan Sims) and saucy blonde strumpet Queen Bettina (bubbly Barbara Windsor). When Henry (Sid James) finds it impossible to consummate his marriage to the former thanks to her terrible aroma, he seeks a quickie divorce and an even quicker marriage to the latter, but in doing so threatens to upset both the Vatican and the King of France.Historically duplicitous and hysterically on the mark, this lively Tudor romp is hugely entertaining viewing thanks to a silly script that plays fast and loose with the facts (even throwing in fun anachronisms such as a breezy jazz rendition of Greensleeves, Guy Fawkes, and the guillotine), plenty of ribald innuendo, lots of heaving bosoms, and spirited performances from the Carry On regulars, with Sid James, in particular, excelling in the role of Henry, giving arguably the greatest (certainly the most memorable) cinematic portrayal of the formidable monarch.

This farce about Henry the VIII is perfect fodder for the Carry On group. This film has the core cast which made the best Carry Ons. It stars the irrepressible Sid James as the king, along with the always fun to watch Kenneth Williams as Cromwell. That duo made the best Carry Ons, they just seemed to always work well together. Add in the always welcome Joan Sims, the always bubbly Barbara Windsor and the also welcome Charles Hawtrey as Sir Roger and you know you're going to enjoy this. There have been better Carry On films, and the film carries the usual sexual innuendos and once in a while too cheap laughs, but with this cast it hardly matters. Seek this out.

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.