The greatest movie ever made..!

Pretty Good

I have absolutely never seen anything like this movie before. You have to see this movie.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

The 21st film of the long running Carry On series is a bawdy trip into the court of King Henry VIII (Sid James). The King has recently married Queen Marie of Normandy (Joan Sims) but since she eats too much garlic, thus putting the King off his conjugal rights, he plots to get her out the way. However, he must tread carefully as a war with France could easily arise should anything happen to the Queen.Some of the best colour Carry On movies would turn out to be set in an historical period. Carry On Henry is not one of the best from the historical romps, but it's a goodie and for those who like the saucy side of the series then it has plenty of appeal.The presence of James on womanising and boozing form, and Barbara Windsor doing her no brain all sexuality act, gives this entry its saucy soul, while Terry Scott (superb visual ticks), Kenny Williams (a continuously wonderful foil for Scott) and Charles Hawtrey mince about with gleeful abandon. The energy of the comedy is high and sustained throughout, while the art design and costuming is regal in production. The gunpowder plot forms a side-bar narrative, which is joyous but also shows us that Kenneth Connor is sadly under used, but the innuendo and purposely groan inducing gags are always on hand to tickle the senses of those so inclined towards this splinter of the popular British institution. 7/10

A great film. Everyone is showing interest. The gang are really trying hard to make this work and they make a great job of it!!. Sid is in top form as Henry the 8th. Barbara Windor is brilliant , Hawtrey is excellent as is Sims. Connor is good but his screen time is short. Patsy Rowlands is totally wasted which is a shame.Kenneth Williams and Terry Scott are very good. The whole film is great the acting the locations the gags and the plot. Overall the film is brilliant. The nude scenes with Babs is good clean carry on fun it does not spoil the reputation of the film. Unlike carry on England and Behind where the only way to get a cheap laugh was to flash Breasts and Bottoms. And as a result makes them look cheap unfunny crude and sad. This film has the lot 10/10

From the writers of Carry On comes this fantastic and comical portrayal of King Henry VIII (Sid James) and his French Queen Marie (Joan Sims). Henry VIII of Great Britain has just married the French princess Marie and is eager to consummate the marriage- until he finds she has a taste for the revolting garlic. Rather then give it up, the Queen holds the garlic close and Henry orders the marriage annulled, prompting his close ministers Cromwell (Kenneth Williams) and Wolsey (Terry Scott) to battle it out together. But when it revealed the Queen is pregnant, a hilarious battle of wit and trust degenerates into lust and blackmail. And when a pretty lady (Barbara Windsor) enters Henrys court he makes up his mind to marry her, with hilarious consequences. Although skimpy on facts this comedy is definitely one of the top three from the legendary Carry On crew, which will have you rolling in laughter for years.

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.