Friday, 23 March 2018

Carry On Blogging Interview: Hugh Futcher (Part 1)

Yesterday I had the great pleasure to chat with the actor Hugh Futcher about his long career as an actor on stage and screen. Hugh is well known to Carry On fans for his appearances in seven Carry Ons. Following his debut in Carry On Spying on a bed of nails, Hugh went on to appear in Don't Lose Your Head, Again Doctor, At Your Convenience, Abroad, Girls and finally Carry On Behind in 1975. Hugh also popped up in the film Bless This House in 1972.

First of all, I'd love to know what made you want to become an actor?

Quite simply I liked the attention as a child. I got a lot of pleasure from being the centre of attention and my parents weren't really against it. My mother didn't mind my interest in acting but she still wanted me to go back to school. I wasn't sure what to do with my life but through a contact of one of my teachers I was taken on to do window displays for John Lewis and I spent a very happy three years working there.

I still dreamt of becoming an actor though and during this time I became what's known as a bit of a Stage Door Johnny. i used to hang about outside the local theatre in Hampshire where I grew up. Lots of stars passed through the theatre in those days and one day it was that great actress Diana Dors. One night she invited me in to her dressing room and she talked to me while she was putting on her make up. I told her I was keen to become an actor and she advised that I wrote to RADA to express an interest. I did that, they sent me application forms and I took an entrance exam. I was offered a place but until this point I hadn't told my parents. We were just an ordinary working class family and while they weren't against me going to RADA, there was no way they could afford the fees. RADA suggested I contact my local council to see if they could help but I was told they only had funds to help people who wanted to become a doctor or a solicitor. 

So I went back to RADA and explained by predicament. Fortunately for me they allowed me to audition again, this time for a scholarship, which I got, and the rest is history. The Principal of RADA at the time was John Fernald and he never believed in me. He had no confidence that I would succeed and told me I'd struggle until my forties and would have to settle for being a character actor. As a young man of about 20, that wasn't a great thing to hear. When I got my first big part at the Royal Court I went back to see him and proved him wrong!

Was that role at the Royal Court your big break do you think?

Without a doubt. I played the role of Dodger in Chips with Everything for eight weeks at the Royal Court and then for a full year when it transferred to the Vaudeville Theatre. I really think that part opened the door for me to do lots of television and parts in films. I think people underestimate the importance of having a good agent to find you parts. My first agent took me on straight from RADA, a lady called Marjorie Armstrong. She was new to the business and I was one of her first signings. Some of her other clients at the time were Julian Glover and Henry McGee. Henry became a close friend and remained so right up until his death. 

Marjorie was responsible for bringing lots of casting directors to see me when I was at the Vaudeville and that's how I started to get parts in television and in the cinema.

How did you first come to join the Carry On team?

Well that was down to Marjorie again. She had been in touch with the casting agent at Pinewood Studios, I think it was Weston Drury Jr, and I was asked to come down to Pinewood to discuss what I'd been up to. The next thing I knew I was told I had a part in the next Carry On which was Carry On Spying. I remember Marjorie telling me that she hoped I was looking good as I'd be required to strip off for the part! Fortunately it was only a Carry On and I was playing a guy on a bed of nails in a short scene with Bernard Cribbins. That was the first time I met Barbara Windsor and sadly the only time I've ever met or worked with Bernard.

What was Gerald Thomas like as a director?

He was tough! He didn't say very much on the set. Peter Rogers said even less but he was always watching the clock. Peter was the money man and he would always appear at the end of the day to make sure we didn't go over time! They dreaded any actor asking if they could do a scene again as time cost money! I remember one time on set when an actress, who I won't name, quite loudly stated that she wasn't getting enough close ups as it was obvious they were focusing on the younger talent. After that little incident she was never asked to make another Carry On.

You filmed a scene with Sid James for Carry On Again Doctor in 1969. What was he like to work with?

Sid really took to me. He'd noticed me in a couple of parts before and even asked for me, saying to Gerald and Peter "is there anything for Hugh?" in the scripts. We got on very well and shared a common passion for the horses! We talked about the racing every morning and really bonded over that. We were always putting bets on while we were on set. The other thing that went on between takes was competing to see who could do The Times crossword first! It was normally Hattie, Sid and Bernard Bresslaw. Sid also always had his head in a copy of The Sporting Life. 

Another film you appeared in around this time was the Roman Polanski horror picture, Repulsion, with Catherine Deneuve. What are your memories of that?

It was a great film to have on my CV. The casting director liked me and asked me to go down to Shepperton Studios where they were going to make the film. I went into a little cabin and there was Polanski - very small and quiet, hardly said anything. I knew of him as he'd caused quite a stir with his film Knife in the Water. They were really just looking for faces and mine fitted. I was told that no English director would have cast me as they wanted Chelsea types. The actor I played scenes with was called James Villiers and he was quite posh. He raised an eyebrow at my casting in the part. Anyway it was quite a strange film in the end and I remember my mother could take it and walked out during the premiere, she had to wait in the foyer! 

Around that time I also met the legendary Charlie Chaplin, did you know that?

No I didn't, tell me about it...

I went down with five other actors to be seen for a short scene in a film he was making in England, A Countess from Hong Kong. When we got to the studios we were lined up while Chaplin and the Assistant Director walked up and down. The other four were then told they could go and I was told, "Hugh, you're working today." When we broke for lunch I was told I was done and could go. Sadly I didn't get the chance to meet the stars of the film Marlon Brando and Sophia Loren! As Chaplin and his entourage left the stage he suddenly turned round and walked backwards back towards me. He looked me in the eye and said "thank you so much" and was gone. It was quite a moment.

Watch out for Part Two of my interview with Hugh Futcher, coming up soon. Find out what she had to say about returning to the Carry Ons to work on the likes of Carry On Abroad and Behind and what it was like to go on location with the gang to Brighton for Carry On At Your Convenience.

I'd like to thank Hugh for agreeing to the interview. And also many thanks to Sarah at Beresford Management and to the lovely Andrew Lynford for helping to set it all up!

You can follow me on Twitter @CarryOnJoan on Facebook and on Instagram

Thursday, 22 March 2018

My Top 20 Favourite Carry On Actors: Number 16 - Julian Holloway

This is part of a brand new series of blogs where I will take a purely personal look at my favourite Carry On actors. I will be doing a countdown of my top twenty actors and actresses in this, the sixtieth anniversary year of Carry On. So why top twenty? Well top ten didn't allow me to include all my favourites and any more than twenty and I'd be at it forever, as it were.

This top twenty will be a mix of regular top team actors and many of those instantly recognisable supporting actors who popped in and out of the series, adding superb cameos here and there. You will probably agree with some of my main choices and be vehemently opposed to others, but it's meant to encourage debate! 

So here we go with Number Sixteen: that excellent, talented cheeky chappie - Julian Holloway.


Julian Holloway, as with Marianne Stone, Patsy Rowlands and Peter Gilmore, inhabited that grey area between supporting actor and main team member. He first appeared in the series in a small role as a ticket collector in Follow That Camel in 1967. Obviously catching the eye of Peter and Gerald, he was soon back for another small cameo as the man carrying out the xray on poor Frankie Howerd in Carry On Doctor. 1968 proved a big year for Julian as he peaked in the Carry Ons, playing his two biggest roles - as Shorthouse in Up The Khyber and Jim Tanner in Carry On Camping.

The absence of Jim Dale from the main team line up meant Julian had more to do than usual and it would seem he was even considered as a replacement in the role of young male romantic lead. Camping was the only time Julian was billed as a main team member however sadly some of his scenes with Tricia Noble (playing his love interest) were cut from the film and the role was reduced. Julian played eight roles in the Carry On films and also played several roles in the 1973 Carry On Christmas television special.

Julian was always worth watching in the Carry Ons and had that mischievous twinkle that made him the perfect fit for the bawdy, very British comedies. He made a great right hand man for Sid James in Carry On Henry, memorably flirted with Imogen Hassall in Carry On Loving and was a much-needed familiar face in the otherwise dreadful Carry On England in 1976. Despite never quite making the official top team, I can't imagine the Carry On films without him.

So Julian Holloway comes in at Number 16 in my top twenty list of favourite actors. Who'll be next?

You can follow me on Twitter @CarryOnJoan on Facebook and on Instagram

Wednesday, 21 March 2018

Carry On Blogging Interview: Patricia Franklin (Part 2)


It was an absolute joy to ring up the actress Patricia Franklin for a good old natter yesterday afternoon. Patricia will be familiar to Carry On fans for her appearances in five films in the series between 1968 and 1976 as well as the big screen version of Bless This House. I wanted to find out more about Patricia's time making the films but also a whole lot more about her acting career. 

I published Part One of our interview yesterday and you can read that here

I wanted to ask you about your role in Carry On Loving. You filmed a scene with Bill Maynard (as Mr and Mrs Dreery) with Kenneth Williams. What are your memories of that?

I remember we went through the scene and both Gerald Thomas and Kenneth kept saying "more, more!" make it coarser! So I did! I'd just been at the Royal Court doing a very controversial play called Saved by Edward Bond and they all knew about it as it had been in the papers. I remember Kenneth saying to me "We don't want any of your Royal Court naturalism round 'ere!" He was lovely to me. I remember being with Joan Sims in Barbara Windsor's dressing room during the making of Carry On Camping and Kenneth was walking up and down the corridor outside. I asked Joan to introduce me and she said "I won't darling as I don't know how he's going to be. He knows who you are and he'll be in here in a minute." Sure enough, a few minutes later he was in the dressing room saying "Who is she then?"


After we had filmed the scene for Loving I was going off to lunch with Bill Maynard and his son who had come to the studios and suddenly Kenneth appeared and took me by the arm. I told him I was going to lunch and he said "Noooo, come with us!" So I ended up at the big Carry On table at Pinewood with the rest of the main team, sitting next to Kenneth. I think he quite took to me! At lunch other actors who were in the restaurant came over to join in the fun - people like Roger Moore and Kenneth More and his wife Angela Douglas. It was great.

I always remember Kenneth taking Gerald to one side after that scene in Loving and saying to him "She reminds me of Mags!" - what a compliment to be compared to his great friend Maggie Smith!

In 1973 you worked on Carry On Girls with June Whitfield and Patsy Rowlands. Was that fun to do and what were they like to work with?

Oh June was just gorgeous. A gorgeous woman, such a good actress and she had beautiful skin and eyes. A stunning lady. She was also so jolly and good fun and I think that came out in the performance. I remember she lived in Wimbledon at the time and she used to give me a lift each day after filming as she could drop me off on the way. My daughter has recently given me a copy of June's autobiography and I'm reading it at the moment. I'll always remember the bra burning scene with June and Patsy. We all just screamed with laughter, such good fun to do.


Patsy was a wonderful actress and such a nice woman. So very talented. I think she was adored really. I remember seeing her in the West End in a period piece with Fenella Fielding and they were both so good. I think I really aspired to Patsy's style of acting. At one time Patsy and I had made plans to get the rights to This Happy Breed and do a theatre production with Patsy playing the grandma and me in the Celia Johnson role but it didn't work out in the end. She was a brilliant actress. I've since met Patsy's son and he was lovely too.

I wanted to ask you a bit more about your theatre career as I don't think many Carry On fans will know a lot about it. What have been some of your favourite parts?

I've been so lucky with the roles I've had in the theatre. I spent about four years as part of the company at the National Theatre. I've worked with directors like Peter Gill, Richard Eyre and David Hare. I did a season of Edward Bond plays at the Royal Court which was quite something as I was pretty much fresh out of RADA. Saved, as I've already mentioned, was very controversial as it involved the stoning to death of a baby in its pram. They had to do a special Sunday night performance in the Royal Court's theatre club and the Lord Chamberlain came to see it. It made so many headlines and people were quite against it but all the big theatre names came round to see us afterwards to congratulate us - actors like Laurence Olivier and John Gielgud. Extraordinary. I was in the Bond season with actors like Nigel Hawthorne and Kenneth Cranham.


I worked with Nigel Hawthorne again in a play called The Ruling Class. I also did Pravda at the National which starred Anthony Hopkins who was great to work with. Another production I remember very clearly was The Government Inspector which starred Rik Mayall. When I was at the National all the big names were there - people like Anthony Hopkins and Judi Dench and everyone was always so kind and lovely to be with. Albert Finney was another great actor I met but sadly never got to work with. He'd been at RADA a few years before me and was part of the new wave of working class actors at the time. I remember seeing him do Billy Liar in the theatre and it was quite a funny story.

Go on...

Well when I had decided I wanted to go to RADA I remember getting my father to watch a programme on television called Face to Face and Finney and Tom Courtenay were on it. I think that clinched it. Anyway, I went to see Finney in Billy Liar and I wanted to get his autograph after the show. My father had said I had to be home by 11 and the show didn't finish until about 10.15 so I couldn't afford to wait outside the stage door. It was the last performance and I really wanted to meet him, so I went to the stage door and told the man it was Miss Patricia Franklin to see Mr Albert Finney. Albert appeared at the top of the stairs in a towel and obviously thought I was part of the crowd attending the post-show party! I quickly told him that I wasn't, I just wanted his autograph on my programme and I couldn't wait as my dad would be cross if I was late home!

I told him I wanted to go to RADA and he said he recommended it and hoped we'd meet again one day in the profession. Well years later, my best friend was going out with the actor Brian Cox and every year they would throw a big party of New Year's Eve. Albert was there and I sat next to him and told him the story of that night at the stage door! Sadly I've not managed to work with him. I still can't believe I had the gall to do that that night!


Going back to Carry On - you appeared in two of the later films in the series, Behind and England. You teamed up with Liz Fraser in Behind. What was she like?

Oh she was lovely and I was in awe again as she'd had such a great career. She had worked with people like Irene Handl (who I adore) and Margaret Rutherford. I remember when we were making Behind Liz got cross with me as we'd both recently filmed separate episodes of a television anthology drama series, all written by different people. She was cross as my episode was getting much more publicity than hers but I think it was down to be being written by Dennis Potter, rather than who was in it!

I remember the day we filmed the scene outside the butcher's shop. It was 24 March, my father's birthday, and it started snowing! We waited for Marks and Spencer to open so the dresser could go and buy cardigans for us to wear! Then we carried on filming. I met Liz at one of the convention signings a few years back and recalled that filming and she said "Oh I can't remember any of that!" but she's a sharp cookie and hasn't changed!

Carry On England, I think I just had one line as a cook. I think there was more dialogue but it got cut for some reason. I know a lot of people weren't too keen on the material as they thought it went a bit far and I wasn't going to do it but Gerald convinced me and we still had fun that day. I think my one line was probably the best one in the film!


If you had to pick from all the roles you've played on stage and screen which has been your favourite and why?

I would probably choose Saved, the Edward Bond play as it made a huge impact and meant a lot. I also loved doing a play called The Garden of England. It was all about the Miners' Strike and was made of of testimony from women who went through it all. The interviews were focussed on before, during and after the strike and it was very powerful to speak those words. Maggie Steed played the interviewer. It was a wonderful piece to be a part of. 

Finally, why do you think the Carry On films are still so popular after all these years?

Well I think they are very good clean fun really! They can be quite witty and some of the scripts were very good but most of all they featured some terrific actors and Gerald was a master director. He knew exactly what he wanted. I remember it as a hive of creativity - everyone knew what they were doing and those actors were at the top of their game. I was doing quite a serious German play in the theatre once and one of company came to me one day and said, "What are you doing in the Carry Ons!?" He'd been watching one on the television with his young son and I had appeared. He couldn't believe it! I loved them and I was very grateful for the range of different parts I was given to play in them.

I'd like to thank Patricia for agreeing to the interview. And also many thanks to Sarah at Beresford Management and to the lovely Andrew Lynford for helping to set it all up!

You can follow me on Twitter @CarryOnJoan on Facebook and on Instagram

Tuesday, 20 March 2018

Carry On Blogging Interview: Patricia Franklin (Part 1)


It was an absolute joy to ring up the actress Patricia Franklin for a good old natter this afternoon. Patricia will be familiar to Carry On fans for her appearances in five films in the series between 1968 and 1976 as well as the big screen version of Bless This House. I wanted to find out more about Patricia's time making the films but also a whole lot more about her acting career. 

First of all I'd love to know what made you want to become an actress?

It was quite strange. I was appearing in a matinee at the National Theatre some years ago when I was told there was someone at the stage door to see me. It was one of my old teachers who had come to see the play with her family. She told me that when I was at school I said one day that I wanted to become an actor. I said I didn't believe I'd said such a thing but she was certain! 

When I was at school we had put on a play with me in the part of Red Riding Hood and my younger sister as Bo Peep. I could remember all the lines really easily and my sister couldn't. The boy playing the lead ended up ill and the teacher wanted someone to take over who could learn lines quickly. My sister told the teacher I could so I ended up in the lead playing a boy! I had long pigtails and had to tuck them up under a hat! Perhaps my teacher was right after all.


And how did you get started?

My mother was always very encouraging. We used to go to the cinema together and I remember us seeing the film Cat On A Hot Tin Roof with Elizabeth Taylor. We found out that the local amateur theatre was putting on a production so we went to see it and started going along quite regularly. We noticed that they ran classes for students and my mum said I should join, so I did. This place became the Mountview in North London which is now a very respected theatre school. A couple of actors who were in the amateur productions with me went on to RADA (Royal Academy of Dramatic Art) so I thought that's where I wanted to go too. My dad was quite strict but agreed I could apply as he liked the sound of the "Royal" part! Anyway I got in and that was me.

Can you tell me more about your first professional role?

Well I left RADA in the July of 1967 and I got my first agent at the end of term show we put on, Tis Pity She's A Whore. Greg Smith saw the show and told me he liked my work and wanted to represent me. Greg was part of an agency called Busby Management at that time and of course went on to produce films, most notably the Confessions series. He very quickly got me three auditions and I think my very first role was in a television series called At Last The 1948 Show for ITV. It was a sort of sketch show and I played lots of little parts in various scenes. It was created by Graham Chapman, John Cleese and Marty Feldman and it came along just before Monty Python. Just after that I got a commercial for Oxo and then I had my first introduction to some of the Carry On team in a theatrical farce at the Whitehall Theatre called Uproar in the House.

I spent nine months in the West End doing Uproar in the House and I had a really good, big part in that. It was great stuff to do and the cast was Joan Sims (who became a great friend at the time), Peter Butterworth and Nicholas Parsons. They were all lovely to me - Joan's dressing room was on one side of mine and Peter's on the other. Joan and I used to laugh a lot. And Peter's wife Janet Brown would often come in afterwards with their children. Years later I attended a special Carry On screening in London and Tyler Butterworth was there. I told him I'd last met him when he was a little boy in his dad's dressing room at the Whitehall. 


Can you tell me more about how you came to be a part of the Carry On films?

Well it was through that farce at the Whitehall really. Peter Rogers and Gerald Thomas came to see the show and they liked what I was doing in it and it went from there. Peter Rogers then had a conversation with my agent and I remember being down on location when they were filming Carry On Camping. It was a scene where Terry Scott was going up the road into his house. I watched it being filmed and after that Peter and Gerald asked if I would like to be in the Carry On film and I said "Yes please!"

How did you find Peter Rogers and Gerald Thomas to work with?

Oh they were great to work for. I know there have been lots of stories of them not paying their actors well and all the rest of it and there was that side to it but my experience was great. I played little character parts, just popping in for what I'd call "a lovely day out". Gerald was a lovely person, he was very paternalistic towards me. i think he had three daughters and every time I was cast in one of the films I seemed to have just had another child and he always asked after them all. I thoroughly enjoyed working for him and I loved the opportunities they gave me to play so many very different parts. 

I remember Peter Rogers asking for me for a part in one of the films and he went through my agent as I was working in Sheffield at the time. I was about eight months pregnant at the time, about to give birth. They were trying to persuade me to get on a train and come back to play the part and I had to explain my situation. Turned out the part involved wearing a bikini so there's no way I could have played it! But it was lovely to be remembered and asked back and it was always such jolly fun to be a part of.

Your first role in the series was in Carry On Camping in 1968. What are your memories of working on that one with Charles Hawtrey and Derek Francis?

Oh they were both lovely and very professional. It was all done very quickly and mine was quite a small part really. I just remember us getting on with it and having a lot of laughs about how silly the scene was, well it was quite ridiculous really, but they were both very straight forward and professional when it came to shooting the scene. Charles was such a unique character and I know there have been stories in the newspapers about him over the years but I honestly didn't have a problem with him or with any of the main actors. He was absolutely charming to me, they all were. The film was made at such a pace there was no time for egos! 

I was recently having a look at some papers in Gerald's archive at the BFI and I came across one of your Carry On contracts!

Oh how much was I paid, I bet it wasn't much!!


Well there you go!

I wanted to ask you about it as the contract was actually for one of the Carry Ons you didn't end up doing. The part was a Night Nurse in Carry On Again Doctor in 1969. Can you remember why you didn't do it?

Oh that's right! I think that was after Camping. I was doing something in the theatre at the time and I don't think the schedules worked out so they must have re-cast the role.

That must be it - it says on the contract that you were appearing in a play at the Royal Court theatre at the time. 

Yes, I was in a very demanding play at the Royal Court in 1969 called Saved, by Edward Bond. Quite a different job from one of the Carry Ons!

Watch out for Part Two of my interview with the wonderful Patricia Franklin, coming up soon. Find out what she had to say about returning to the Carry Ons to work with the likes of Kenneth Williams, Liz Fraser and Patsy Rowlands. And find out more about Patricia's brilliant career on stage and how she got back stage to meet a certain Mr Albert Finney while he was performing in Billy Liar!

I'd like to thank Patricia for agreeing to the interview. And also many thanks to Sarah at Beresford Management and to the lovely Andrew Lynford for helping to set it all up!

You can follow me on Twitter @CarryOnJoan on Facebook and on Instagram

Monday, 19 March 2018

Carry On Getting in Touch!

I love interacting with fellow Carry On fans. It's a massive part of this blog and long may it continue. if you want to get involved or get in touch you can do so in the following ways:

I have a dedicated Facebook page which I use to post all my blogs and share other interesting pieces of news and also some lovely photos of your favourite Carry On actors.  

You can also, of course, follow me and interact with all my ramblings over on Twitter
 @CarryOnJoan - I love when you get in touch to comment on the films, one of my blogs or to share photos you love. So keep it going!

There is also the "Get In Touch" form on the blog itself - if you want to contact me about the blog, the films or anything else, please use this form as it comes straight to my email. 

And if you want to get even more involved in all things Carry On Blogging, why not submit a blog yourself? I welcome submissions on anything Carry On related so why not put pen to paper (or fingers to the keyboard) and jot down your thoughts - it can be as long or as short as you like, it's really up to you. 

Carry On Following!

Scott On?

Terry Scott was an interesting addition to the Carry On team. I can understand why Peter Rogers and Gerald Thomas wanted him involved in the mayhem at Pinewood. By the late 1960s, Scott was a celebrated star on the small screen with his own series and a fruitful partnership with Bill Maynard still in recent history. 

Terry had made a small appearance in the original, very first Carry On film, Carry On Sergeant in 1958. Back then he was a supporting player in many British films of the period but was yet to become a star. A decade later he was invited to play a supporting role in the classic Carry On Up The Khyber and the rest is history. I'm never quite sure whether to include Scott as a full on member of the gang as while he did have starring roles in several memorable films, he only appeared regularly over a three year period and starred in just seven films. 

His arrival back into the Carry On fold came at an opportune moment. Jim Dale, the dashing romantic lead in the franchise throughout the 1960s, had taken a year out to concentrate on his blossoming stage career. While Roy Castle would take on Jim's part in Khyber and Julian Holloway would play "Jim" Tanner in Camping, by Up The Jungle in 1969, Terry was picking up those roles. The main problem I continue to have with this is fairly simple, I just don't really like him as a comedy performer.

I do think Terry is superb in Up The Jungle as the clumsy, Tarzan like character opposite Jacki Piper. He does an awful lot with a part that is largely dialogue free. Terry is also on good form in Carry On Camping as Betty Marsden's put upon husband Peter Potter and his final role in the series, as the gloriously named Dr Prodd in 1971's Carry On Matron, is deliciously filthy! There's just something missing though as far as I'm concerned. I feel the same way about Jack Douglas, they are talented at what they do but I'm just not really won over by them. 

I think my main problem with regards to Terry Scott is my loathing of Terry and June. Don't get me wrong, I'm a fan of middle class, middle of the road sitcoms from that era and I absolutely adore June Whitfield. I just find Terry's character overwhelming, over-bearing and well, over played. I don't think I'm alone in this. Perhaps being aware of what followed with decades of suburban sitcom antics, I just turned off to Terry in the Carry Ons. 

I'm sure there are plenty of Terry fans out there so why don't you get in touch and tell me why you love him, either in the Carry Ons or in Terry and June. I'd love to hear from you. 

You can follow me on Twitter @CarryOnJoan

Saturday, 17 March 2018

Celebrating 60 Years of Carry On with Art & Hue

This year is a special anniversary for fans of classic film & British comedy as it’s 60 years since the first classic Carry On production, “Carry On Sergeant”, was released in 1958.
The Carry On films have their own distinct style that is totally unique, beloved by many, and an important part of Britain’s comedy, film, and cultural heritage, and 2018 marks 60 years since the first Carry On film.
"Carry On Sergeant" laid the groundwork for the most prolific British film series (yes, more than James Bond). Without this successful first film, there simply wouldn’t have been all the films that followed in its path.

British film company Anglo Amalgamated distributed the first 12 Carry On films starting with "Carry On Sergeant" in 1958 and ending with the much-loved Hammer Horror parody "Carry On Screaming" in 1966.
Carry On Sergeant was screened to the trade and cinema-bookers on the 1st of August 1958 after which some some regional screenings were held from the 1st of September including Aberdeen & Birmingham. It wasn't until the 19th of September 1958 that it received its London cinema release at the Plaza, and then the film rolled out nationwide on general release from the 20th of September onwards.
To celebrate the British comedies, Art & Hue has created a stylish pop art collection featuring the classic films and their stars. 
Along with the classic film posters, Sid James, Kenneth Williams, Hattie Jacques, Charles Hawtrey, Joan Sims, and Barbara Windsor (Dame Babs) have all been transformed into pop art icons by Art & Hue, in a choice of three sizes and 16 colours.

Prices range from £15 to £39 and are exclusively available online at

You can follow me on Twitter @CarryOnJoan on Facebook and on Instagram