Don't pay attention to the "stick in the muds" previously expressing their inability to enjoy this fantastic film. I've watched a lot of movies over the past 50 years and let me say, without question, this is my favorite movie of all time. Admittedly, I love early 60's British humor and films. This classic is humor all the way. I won't put in any spoilers but would say that the actors in this film are perfect for comedic escapades. The "old Dame", Retired Colonel who was in the Bath division, heavy set Charm school teacher (who my grandfather used to say had legs like a piano) and the mousy china repair flatmate , Many appear in other classics of this era. If you do enjoy this film, which I love, I would also recommend the movie "Doctor in the House" with Dirk Bogarde 1954

Charming comedy about a bored group who board with Dame Bea (Athene Seyler) in an apartment. She supports many charities but has now run out of money. Through a series of events, they hit upon the idea of stealing fur coats and selling them to a fence so that she can continue to support her charities. The others are all bored so they go along ...since it's for charity. Implausible plot makes little difference as this disparate group of oddballs start their series of robberies. Subplot has Dame Bea's maid (Billie Whitelaw) who has a prison record, falling for a cop (Jack Hedley).The robberies are masterminded by the Major (Terry-Thomas) who calls on his military experience to plan the robberies, including all manner of disguises. Because they have no police records, they rob shops and gambling joints right under the cops' noses.The cast is uniformly excellent is this bit of craziness. Terry-Thomas and Athene Seyler turn in star performances, matched by Hattie Jacques as Nan and Elspeth Duxbury as the hapless Pinkie--their cohorts. Others in the cast include Raymond Huntley as the inspector, Irene Handl as Spolinski, Penny Morrell as Gertrude, Sydney Tafler and Joan Heal as the neighbors, and May Hallatt as the old lady. Kenneth Williams also shows up as the fence.The ending is priceless.

I thought I might have seen it before but it wasn't until the cute maid, Billie Whitelaw, flung herself on the couch and her nightgown flew open to reveal her shapely legs that I recognized a scene. None of the other scenes seem to have registered much.The slightly batty Athene Seyler runs a boarding house in London. Her guests include Terry-Thomas, Hattie Jacques, and Elspeth Duxbury. Billie Whitelaw is excluded from the gang that the others decide to form in the name of charity.It's intermittently amusing. The Brits were making some superlative comedies during the 50s. They could turn a crummy, smoggy factory setting into a huge joke, as they did with "The Man in the White Suit." "Make Mine Mink" depends more on obvious puns, faux pas, and obvious awkward situations. A woman is trying to light a smoke bomb and it blows up in her hands, leaving her pop eyed and in blackface. How can this compare with the explosion scenes in the Guiness movie? I suppose it shouldn't. Nothing can match the best of the Ealing comedies. This should be compared to the "Carry On" series. It comes off better because it's not quite so silly. The other great tradition in British comedy -- the Monty Python series -- I leave to the philosophers.It's sometimes funny, occasionally frantic, as the repetitious musical theme tells us over and over. It's diverting without being in any way memorable. To compare it to "The Lady Killers" is a sacrilege.

A warm view of the criminal temptation as seen through the eyes of the comic displaced. Fine team performances, particularly from the female cast members, topped off by a Terry-Thomas character out of his own flawed top-drawer. A real treat for those who like their view of the British as slightly off-centre, warm and hypocritical...which is not a bad summary of the national character. Kenneth Williams in an early appearance shines as a character that he never really succeeded in developing for the screen but which points to a keen comic enjoying himself in very good company. Billie Whitelaw playing against type is also a revelation in a role that hints strongly at the type of role that she made her own in films later in the decade