Butterworth Carries On … As Slobotham!

A couple of years back I started a regular series of blogs which profiled each of Joan Sims' fabulous 24 Carry On roles. I enjoyed giving each performance a turn in the spotlight so once I completed the mammoth task of writing about everything from Nurse Stella Dawson to Mrs Dangle, I went on to blog about all of Hattie Jacques' roles in the series and then those portrayed by Dame Barbara Windsor.

More recently I have carried out the same task for two of Carry Ons' unsung heroes - Kenneth Connor and Bernard Bresslaw. Now I will turn my attentions to all sixteen of Peter Butterworth's delightful supporting turns in the Carry On series. Peter, along with Sid James and Joan Sims, has long been one of my very favourite comedy actors and favourite members of the Carry On troupe. Sadly, Peter has received scant attention from the wider press, with only diehard fans really giving his acting talent the praise it so rightly deserves.

Peter joined the Carry On team in 1965 for Carry On Cowboy and remained a loyal servant to the series pretty much right through until the end of the original series in 1978. He was also a frequent contributor to many of the team's small screen outings and appeared alongside Sid James, Barbara Windsor and several others in the Carry On London stage farce in the early 1970s. He never put a foot wrong and was the master scene stealer. 2019 marks not only one hundred years since Peter's birth but also, sadly, forty years since he passed away. It therefore seems fitting to devote some blogging time to his wonderful performances.

After my first blog in the series last week on Peter's debut in Carry On Cowboy, today we're moving on to the film which started production at Pinewood the following January, over fifty years ago. Carry On Screaming has gone down in British cinema history as not just one of the finest Carry Ons ever made but one of the best horror comedies ever produced in the UK. A pastiche of the wildly popular Hammer Horror films, then at their peak, Screaming sends up these scary classics as only the team could. The production values are superb, from costumes to set dressing and even the appearance of a couple of classic motorcars. The script is one of Rothwell's finest and the performances from the team are second to none. Throw in a couple of excellent guest actors in Harry H Corbett and the superb late lamented Fenella Fielding and you surely have one of the best Carry Ons ever made.

Screaming tells the story of a mysterious and creepy brother and sister who send their towering monster Oddbod into the local woods to kidnap young ladies who are then vitrified into tailor shop dummies! One such unfortunate is Doris Mann, out courting with Albert Potter. When Potter takes the disappearance of his girlfriend to the local police, police detectives Bung and Slobotham decide to investigate. As always the plot takes second place to the comedy situations and performances and Screaming doesn't disappoint. With Corbett, Fielding and Williams grabbing most of the screen time and Jim Dale once again int he role of romantic hero, Screaming also excels with its supporting cast of typical rogues gallery favourites. Joan Sims is on fine form as Corbett's nagging wife Emily while Bernard Bresslaw and a certain Peter Butterworth both return for their second outings with the gang. With the action focussed so much on the aforementioned stars, the likes of Charles Hawtrey and Angela Douglas have smaller parts than usual but as ever the more familiar faces involved the better.

So what about Peter's performance as Slobotham? Quite frankly I think it's one of Peter's greatest Carry On appearances. Still hovering down the cast list with the focus on Dale, Williams and Fielding, Peter still manages to grab more screen time than some of his other Carry On roles and he never misses an opportunity to make the most of it. First of all, I think Peter and Harry H Corbett are a revelation together. Given that the role was pretty much written for Sid James, who in the end couldn't join the film, Harry plays the part of Sidney Bung to perfection and the double act with Peter is a complete and utter joy. Much comedy fumbling and idiocy ensues as the ineffective policemen fail to spot obvious clues. Despite this and of course because we have great affection for these actors and their characters, the audience still roots for them right to the very end.

As with many of his other roles, Peter is the everyman character in Screaming. He's often in the background and is constantly reacting to events and the performances of other actors. And this is where Butterworth excels as a visual comedy performer. That face! I mean really. It's a face created for this kind of comedy. I'm sure there were plenty of ad-libs from Peter in this film, despite so many stories that Gerald Thomas didn't allow them. With an actor like Peter, he just couldn't help himself. He was firing on all cylinders in this film and clearly having a ball. The sheer skill of the man is proved time and time again as no matter who is on screen with him and no matter what they are doing, you end up watching Peter's classic reactions, be they very physical business with the old car in the woods or just the merest flicker of an eye. He never misses a trick and that's why he's worth his weight in comedy gold.

The scene where Harry and Peter deliberate over clues with the blackboard and chalk in the police station is pure nursery humour. In the hands of others it would fall completely flat, but with Butterworth in particular on board, it's hilarious and a classic Carry On moment. I also love his reaction when he, together with Harry and JIm turn up at the Watt mansion for the first time and are greeted by the menacing sight of Bernard Bresslaw's butler. He doesn't need to do very much to achieve instant laughter from the audience, and in saying that he's competing with two outstanding comedy performers in the form of Harry H Corbett and Jim Dale. This scene leads into the wonderful exchange with Kenneth Williams' twitching Orlando with some excellent fast, revue-like word play as Bung and Slobotham look for evidence. Expertly played by a collection of handpicked, hugely experienced performers. Actors like Peter really do make it look so effortless and easy and therein lies the skill of the man.

I think the climax of Peter's role in Carry On Screaming is his wonderful drag sequence as he and Sergeant Bung attempt to catch the mysterious monster in the woods. With Peter's Slobotham dolled up like "a bag of nutty slack"! the pair make their way to woods to pretend to be a courting couple. With Jim Dale also in situ on the hunt of the creature and Joan Sims' suspicious wife also on their trail, what could possibly go wrong?! Unlike some actors, Peter clearly revels in being done up in drag, possibly reminiscent of so many of his great roles in pantomime. Butterworth makes the perfect drag act for a Carry On as he's so obviously a man it just makes it completely hilarious, much like Bernard Bresslaw in Carry On Girls. When Slobotham is kidnapped and taken back for vitrification the whole story comes to a climax as Bung and Potter come to his rescue. As the trio fend off the gruesome monsters, Peter once again indulges in some inspired horseplay, still in his corsets and unconvincing wig! 

Of course all ends well as it must do in Carry On land. Kenneth Williams' evil Dr Watt is himself vitrified, Jim Dale's handsome hero is reunited with his girlfriend, 'that man Doris' and Harry's Sidney Bung gets his wife back, although perhaps she's just not the woman she once was. And Fenella's Valeria takes on a new role as Bung's sexy housekeeper! Who knows what happened to Peter's Slobotham as he isn't present in the final scene which is a shame. 

Despite that, Peter's role in Carry On Screaming remains a triumph and no doubt solidified his position as the go-to man for priceless supporting turns. He fitted in so well with the established Carry On team and very quickly became such a fan favourite. Peter would be back in another significant supporting role in the very next film in the series, as the unforgettable Citizen Bidet opposite Kenneth Williams' Camembert in Don't Lose Your Head. My blog on that role and that film coming up next! 

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Watch: Harry H Corbett on Steptoe

I've been trawling through the wonderful archive clips on the BBC South Today website recently. I've blogged lovely old clips of such stars as Terry Scott, Kenneth Williams and Sid James and today we're going back to 1974 to hear from the wonderful actor, Harry H Corbett.

To a generation he was Harold Steptoe in the brilliant BBC comedy series Steptoe and Son. And of course to Carry On fans, he was Sergeant Sidney Bung in one of the best in the series, Carry On Screaming in 1966. The clip comes from way back in 1974 when a reporter spoke to Harry in his dressing room about how he came to play Harold Steptoe, why he loved the role and also, what led him to play in panto.

As always, it's fascinating to see one of our best loved comedy actors being themselves, out of character. In those far off days, actors weren't interviewed as often, there was less telly and no social media. So it's quite rare to see clips like this. Also included are some modern day comments from Harry's daughter, the actress Susannah Corbett, who talks fondly of her father. It's definitely worth a watch.

And you can watch the clip here

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Three Classic Comedies tomorrow on Talking Pictures TV

Talking Pictures TV are showing three classic British comedy films back to back tomorrow morning. First up is the 1956 film Sailor Beware, starring Peggy Mount, Ronald Lewis and Gordon Jackson. This is followed up by a rather bizarre little curio, Cuckoo Patrol from 1967 and then bringing up the rear the 1964 canal boat classic, The Bargee, featuring the likes of Ronnie Barker, Julia Foster, Miriam Karlin and Eric Sykes. 

More details below:

08.10 - Sailor Beware! (1956)

Carry On Faces: Esma Cannon, Shirley Eaton, Anthony Sagar, Fred Griffiths

Royal Navy sailor Albert Tufnell is to marry Shirley Hornett the next day. He and his best man, fellow sailor Carnoustie Bligh, travel to the Hornett household. However, Albert begins to have second thoughts when he spends the day with her family. He has no problem with her father Henry or with meek spinster aunt Edie, but her domineering mother Emma is another matter entirely. 

On the day of the wedding, Albert does not appear at the church, so the Hornetts go home. Then Albert shows up, as does the Reverend Purefoy, who was to preside over the ceremony. Albert states that he loves Shirley and wants to marry her. However, he has his doubts. Mr. Purefoy asks to speak to the couple privately. Everyone else leaves the room (but eavesdrops). Albert then explains that the unhappy example of her family life and the unilateral decision about where they were to live have made him hesitate. Henry comes in and surprisingly states that his wife has actually taken good care of him, and that he is fond of her. Upon hearing that, Emma breaks down and weeps; she tells Purefoy she wants to change her ways. Albert marries Shirley, but after they leave, Emma finds it hard to break old habits.

Read more on this film here: Carry On Blogging: Sailor Beware

09.50 - Cuckoo Patrol (1967)

Carry On Faces: Kenneth Connor, Victor Maddern, Peggy Ann Clifford 

The late Freddie Garrity (of Freddie and the Dreamers) stars in this 1967 film comedy. The film is directed by Duncan Wood who produced the likes of Hancock's Half Hour and Steptoe and Son amongst many others. A good British cast including Kenneth Connor, Victor Maddern, John Le Mesurier and Arthur Mullard tell the story of a troop of scout misfits, The Cuckoo Troop, led by Garrity on their way to scout camp and all the scrapes they stumble into!

11.25 - The Bargee (1964)

Carry On Faces: Harry H Corbett, Eric Barker, Patricia Hayes, Ronnie Brody, Brian Wilde, Ed Devereaux 

Hemel Pike is a canal barge casanova, aided and abetted by his illiterate cousin, Ronnie. Hemel has a girl in every town along his route, and each one is intent on marriage. He is finally caught when one of the girls, Christine, falls pregnant. Her protective father, a 'larger than life' character, who holds the canal record for drinking 29 pints of 'Brown & Mild' in a single session, is understandably upset by his daughter's situation…

Something for everyone there!

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Carry On Faces in Different Places: Percy's Progress

Here we go with another in my series of blogs looking at some of the cream of British comedy film making from the 1950s, 60s and 70s. Although this blog is all about the Carry Ons, believe it or not, there were some other joyous comedy films made away from Peter Rogers Productions. However, given the quality of the actors Peter employed to make his series, it's no wonder that most of them popped up elsewhere.

So far I've looked at the wonderful 1959 crime caper Too Many Crooks , the 1954 domestic comedy starring Dirk Bogarde, For Better For Worse , the big screen spin off Please Sir! and the wonderful Up Pompeii and the brilliant John Gregson and Diana Dors vehicle, Value for Money. 
  
More recently I blogged about the Sid James and Kenneth Connor comedy horror What A Carve Up! and the the Gordon Jackson drama, Floodtide. 

I've also looked at the Carry On links with the wonderful film I'm All Right Jack

Recently I blogged about the Billy Fury and Amanda Barrie musical film I've Gotta Horse , the classic 1954 school comedy The Belles of St Trinian's and the 1959 romantic comedy from the Betty Box and Ralph Thomas stable, Upstairs and Downstairs. You can also check out my blog on the 1956 drama Lost. 

Today I am going to write about a 1974 comedy sequel which saw one of the last films from a producer-director double act of legendary proportions (Betty Box/Ralph Thomas) : Percy's Progress.

What's it about?

Percy is well known in England as the man who had the world's first penis transplant, and is exceptionally well endowed. His rampant conquests of married women cause him to escape incarceration by local authorities.

A chemical is accidentally released into the world's water supply rendering all men impotent. Percy is unaware that he is the only man on earth who can achieve an erection because he was in hiding from the law at sea, drinking nothing but champagne.

When Percy goes ashore to relieve his year-long sexual tension at a brothel, he garners the attention of the British press and subsequently the British government, who then want to use him to repopulate the world. An international pageant is held to find each country's "Miss Conception" representative. At the same time, a team of doctors work to find an antidote to the effects of "P.S.- 123".

Who's in it?

Leigh Lawson heads the cast as Percy. Other well known actors to appear include Denholm Elliott as Sir Emmanuel Whitbread, Vincent Price as Stavos Mammonian, Julie Ege as Miss Hanson, Ronald Fraser as Bleeker and Anthony Andrews as Catchpole. 

Carry On Faces?

Many! Although playing a different character in the previous Percy film, Elke Sommer is back for the sequel this time playing Clarissa. She would lead the cast of Carry On Behind the following year. Another future one off Carry On star to appear in this film is Judy Geeson as Dr Fairweather. Judy would go on to star in Carry On England in 1976.

Carry On Screaming star Harry H Corbett co-stars as the Prime Minister (a spoof of Harold Wilson if ever there was one!). Elke's Carry On Behind colleague Adrienne Posta also co-stars here as PC 217 (Iris). And look out for that wonderful Irish actor Milo O'Shea playing Dr Klein. Nearly ten years before he had the supporting role of Len in my favourite Carry On, Carry On Cabby.

Carry On Matron cameo player Madeline Smith makes another guest appearance in this film, as Miss UK. Gertan Klauber, a small part player in several Carry Ons, also pops up playing Pablo. Two other Carry On faces making small, uncredited appearances in Percy's Progress are Norman Chappell as a Valet and who else but Marianne Stone playing a Reporter.

And before I go, there is of course much glamorous support from a bevy of lovely actresses. Carry On Abroad and Behind star Carol Hawkins plays Maggie; Carry On Dick Bird of Paradise Penny Irving crops up as Chiquita and future Carry On England actress Diane Langton takes the role of Maureen Sugden. Also look out for Carry On Blogging favourite, the actress Judy Matheson, who plays Maria. 

Did you know?

In the United States, the film was released as It's Not the Size that Counts.

Leigh Lawson replaced Hywel Bennett, who had played Percy in the original film of that name three years before. Bennett did not want to reprise the role.

Harry H. Corbett also co-wrote the film, along with Ian La Frenais and Sid Colin (who had contributed to the script of Carry On Spying in 1964). 

Betty Box said they only agreed with Nat Cohen to make a sequel to Percy if he financed The Reckless Years, a film of the Byron-Shelley story. However, Cohen reneged on the deal once Percy's Progress was made.

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Guest Blog: John Hewer on the Carry On Connections with Steptoe & Son

In this wonderful guest blog, John Hewer writes about the wonderful BBC comedy series Steptoe and Son and the Carry On connections with that brilliant tale of the warring rag and bone men. John is currently starring in a stage version of Steptoe and Son, produced by Hambledon Productions. More on that below!

Don’t baulk at the title; this is neither an article to initiate rumours of a strange new hybrid between two comic institutions, nor is it intended to be a piece to derive lamentations as to ‘what might have been’. The joyous fact is, without any sort of obvious crossover, that both these iconic franchises have a striking amount in common; they are of similar age (the “Carry Ons” have just turned 60, “Steptoe and Son” is merely four years away), they still enjoy frequent and, more to the point, popular repeats, and both seem to be intrinsically British. Yes, the “Carry Ons” are loved around the world, but their reliance on ‘toilet humour’ and instantly recognisable stock characters make them unmistakably from these isles, and while “Steptoe” has seen quite a few imitations made in different countries, no-one has managed to recapture the markedly grim and demonstrably class-conscious world of Oil Drum Lane. 

Both series, in fact, feature many of the same topics to generate their comedy – the aforementioned toilet humour is just as ripe in “Steptoe” as it is in the “Carry Ons”; who can forget poor Harold returning to the yard after a hard day’s totting, going to sit on the khazi (that’s the Cockney slang for toilet, and not the Khazi of Kalabar…) and getting a nasty shock from the holly wreath, placed absent-mindedly by his old man. And although there’s rarely anything as stark or grim in the “Carry Ons” (apart from the painful demise of the original series in the late 70s), there’s plenty of comedy based on class riddled throughout the films – from snooty snobs as portrayed by Kenneth Williams and Frankie Howerd, to clear social commentary surrounding management and labourers depicted in “Carry On At Your Convenience”. In “Carry On Camping”, we have Sid James bent double in the wooden ablution hut trying to cop an eyeful of Barbara Windsor through a knot in the wall. In “Steptoe and Son’s” episode “Back in Fashion”, we have Albert Steptoe, the eternal dirty old man, drilling a hole in his bedroom floor so he can have a quick butcher’s at the female models changing in his living room below. 

 

“Steptoe and Son” was written by the grandfathers, and I’d argue godfathers, of sitcom – Ray Galton and Alan Simpson (an interesting aside, Galton frequently worked with scriptwriter John Antrobus, who was commissioned to write the first draft of “Carry On Sergeant”.) The original batch of series were broadcast from 1962-1965, returning for a further four series (this time in colour) from 1970-1974. It was their second hit, after already earning their place among the greats with their catalogue of work for comedian Tony Hancock (and subsequently, writing for “Carry On” favourites Sid James, Kenneth Williams and Hattie Jacques.) The five-year hiatus in the late 60s came about because the writers felt they had successfully exhausted the storylines for the two warring rag-and-bone men, and both Wilfrid Brambell and Harry H. Corbett (who remained loyal to playing Steptoe and Son respectively, through TV, film, radio and stage adaptations) were ready to move on to something new. 

In 1966, Harry was secured to replace Sid James in the twelfth “Carry On”, a hilarious and particularly polished entry sending up the hammer horror genre – “Carry On Screaming.” Harry plays the lead, Detective Sidney Bung, on the case of the disappearing women in the local Hokum Woods. The majority of “Carry On” fans, and I am no different, think Harry was a great asset to the team and a fair, temporary stand-in for Sid. Harry secured the biggest wage assigned to a “Carry On” star to that point – a whopping £30,000, which stood head and shoulders over “Carry On” regular Kenneth Williams’ £5,000. Harry demonstrates clear capability in delivering the gloriously ribald dialogue. He spars well opposite Jim Dale and Williams, suitably melts next to the smouldering Fenella Fielding and creates a particular stand-out performance paired with Peter Butterworth in one of the series’ most dynamic and amusing double-acts. Wilfrid Brambell, who returned to the West End stage in the late 60s, managed to find time to pop in and pop out of the Long Hampton Hospital in “Carry On Again Doctor” (1969), typecast as a dirty old man (albeit a lot cleaner, and with his better set of gnashers in), enjoying a very memorable cameo as the aptly-named Mr. Pullen, checking in to see Dale’s Dr. Nookey regarding his latest hormone injection. The entire segment is over in a matter of seconds, but it’s a wonderful slice of mime and playful grimacing. Resident “Carry On” composer Eric Rogers was quick to utilize the presence of the Steptoe family in the films; when Harry has to break in to a shopkeeper’s window to steal a mannequin, we are treated to a quick rearrangement of Ron Grainer’s immortal “Old Ned”, which served so fantastically as the theme tune to the sitcom. When Wilfrid is being helped into the consultation room by Nurse Willing, Rogers disguises the theme even less. They’re affectionate nods to the actors’ previous success.

Elsewhere, in the “Carry On” cast lists, there are many crossovers, particularly when the sitcom returned in the early 1970s.  The pressure from the BBC was too great to ignore, and Harry and Wilfrid agreed to come back provided that Ray and Alan considered that the creative well had been re-filled enough to warrant it. The lads didn’t let us down. The most iconic, most fondly-remembered episodes (and the ones we’ve focused on reviving for the stage) stem from this second burst of life for the series. Frank Thornton, engraved on our minds for his portrayals of Truly in “Last of the Summer Wine” and Captain Peacock in “Are You Being Served?” returned to the Steptoe stable on no fewer than six separate occasions. Avid “Carry On” fans will no doubt recall he also appeared in a supporting role as the distressed shopkeeper in “Carry On Screaming.” June Whitfield, who’s “Carry On” career spanned from 1959’s “Carry On Nurse” to 1992’s ill-fated “Carry On Columbus” also notched up a “Steptoe” appearance. One of the more memorable cameos from the sitcom was Nemone Wagstaff, a member of the local amateur dramatics society, played by starlet Margaret Nolan, who’s “Carry On” contributions include Miss Dawn Breaks in “Carry On Girls” and Lady Daley in “Carry On Dick”. Madeline Smith starred in the episode “Back in Fashion” shortly after filming her cameo role as Miss Pullitt for “Carry On Matron”. Harry Fielder cropped up as a holidaying monk in 1972’s “Carry On Abroad” before appearing in the closing scene in the classic episode “Porn Yesterday”.    

As was the norm for any successful sitcom in the late 60s and 70s, a “Steptoe and Son” feature length spin-off was rushed into production. A sequel followed, but, thankfully, both have stood the test of time fairly well, particularly in comparison to their contemporaries. More “Carry On” names line the credits, including Milo O’Shea (from “Carry On Cabby”), Fred Griffiths (from “Carry On Nurse”, “Carry On Regardless” and “Carry On Loving”) and Bill Maynard, who, after promising roles in “Carry On Loving”, “Carry On Henry”, “Carry On At Your Convenience” and “Carry On Matron”, would see his part as manager of Wundatours Ltd. hit the cutting room floor.

The humour of both these institutions is, evidently, timeless. Whereas there’s never a week when a “Carry On” isn’t enjoying a broadcast, “Steptoe and Son” has recently been revived on stage in a touring production, hosted by Hambledon Productions. As is the case of some of the “Carry Ons”, the setting may appear dated, even unrecognizable to some theatre-goers, but the characters, relationships, scenarios and, most importantly, the jokes, continue to delight audiences young and old. There’s just as much relevance (and humour) these days in Harold and Albert having to split their house in half because neither of them can afford to move out as there is in Peter Butterworth trying to get an extra “pahnd” out of his holidaymakers at Paradise Camp. 

By John Hewer

 

“Steptoe and Son” is touring throughout 2018. Dates and venues are available at www.steptoe.hambledonproductions.com.             

And you can follow Hambledon Productions on Twitter here: @HambledonProds

   

Peter Butterworth, limited? You're having a laugh!

 

I've written several times on the blog how much I admire the performances of the late actor Peter Butterworth. A few weeks ago I was engaged in a conversation via Twitter about the great man when the audio commentary Peter Rogers took part in for one of the Carry On DVD releases was mentioned. I confess I have never listened to Peter's commentaries all the way through as I found them rather dry and terse to say the least.

Anyway, apparently Peter Rogers at one point refers to Peter Butterworth as being "limited" as an actor. Although I can't confirm this, it doesn't surprise me really as the Carry On producer frequently spoke his mind without fear of retribution. Obviously I respect the opinions of the man who masterminded my favourite series of comedy films, however I struggle to understand why anyone would think Peter B was at all limited as an comic actor! 

For several years I've wondered why Peter Butterworth's roles in some of the Carry Ons were so small. After a series of stunning supporting turns in the likes of Screaming, Don't Lose Your Head and Follow That Camel, Butterworth was restricted to some annoyingly brief and sometimes even uncredited cameo roles in films like Again Doctor, Loving and Henry. He did, of course, return for bigger roles in some of the later films but I don't think any other main team member was ever restricted to cameos like this. I also heard that Peter turned down the role played by Bill Maynard in Carry On Matron, but again I'm not sure if there is truth in this.

 

Whatever the truth, there's no mistaking the loyal service Peter Butterworth gave Peter Rogers Productions over a period of 14 years. While some of his roles are regrettably small or receive very poor billing, Butterworth was the master at stealing scenes from under the noses of other actors through sheer natural born comic skill and timing. He was quite simply always "on" and some of his reaction shots, asides or funny looks are just superb. Peter appeared in sixteen Carry On films, the big screen version of Bless This House, three of the Carry On Christmas television specials, nine episodes of the 1975 ATV Carry On Laughing series, the eighteen month run of the Victoria Palace Carry On London revue and the 1976 Carry On Laughing at the Slimming Factory show in Scarborough. Quite a Carry On contribution. If Peter Rogers did find Butterworth limited, it certainly didn't stop him employing him!

Who can forget Peter's stand out performances in the Carry Ons? His Slowbotham in Carry On Screaming - second in command to Harry H Corbett, full of knowing looks, double takes and of course, that wonderful drag sequence in Hokum Woods! Or his superb manservant Simpson, working so brilliantly with Jim Dale in Follow That Camel? Possibly his two best remembered Carry On roles came in the same year, 1968. Peter provided priceless support as Brother Belcher, the only person apparently aware of the destruction around them during the climatic dinner party in Up The Khyber. Later that year he also played skinflint, money grabbing campsite owner Mr Fiddler ('Your name certainly suits you, Mr Fiddler!") in Carry On Camping. 

For me though, Peter Butterworth's best Carry On role was his triumphant return to a major role in the series in 1972's Carry On Abroad. As Pepe (or is it Mario?!) Peter puts in a tour de force as the frantically stressed hotel manager beset with problems as a bunch of eccentric British tourists descend on him and his domineering wife, a fiery Hattie Jacques. It's a stunning central performance and Peter works so hard in this film, taking part in an endless stream of stunts, slapstick and memorable innuendo-encrusted scenes. He really suffered for his art but it's all worth it.

So, never mind what Peter Rogers may have said or thought about Mr Butterworth, for me he's one of the most priceless and essential parts of the Carry On success story. And nearly forty years after his sad, early death, Peter is still making us laugh. Quite a legacy. So tell me, what's your favourite from all of Peter's Carry On performances?

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The Other Sid to Carry On

 

The writer Sid Colin is a name not often mentioned these days. Although achieving a script writing career which endured for four decades, Colin's work is rarely discussed or even shown these days. Many Carry On fans will never have heard of him but he's more than worthy of a blog all to himself. The Carry Ons are mainly remembered as Talbot Rothwell's stomping ground as he was by far the most prolific writer to contribute to the series, however other men - Norman Hudis, Dave Freeman and yes, Sid Colin, were also part of the story.

Sid Colin's Carry On contribution was brief and fairly unremarkable, however over the course of his career he wrote for many of our favourite Carry On actors. He also struck up a writing partnership with Rothwell which lasted decades. Born in 1920, Sid started out not as a comedy writer but as a guitarist and singer during the Second World War. He was part of a beloved British dance band called Ambrose and the Squadronaires and penned the song "If Only I had Wings" for the RAF. It became an enduring hit within the organisation. After the war he began writing for radio comedy before branching out into film and television.

Let's start off by looking at Sid's brief flirtation with the world of Carry On. In 1964, Colin teamed up with his lifelong friend Talbot Rothwell to provide additional script ideas and dialogue for the gang's James Bond / Third Man spoof, Carry On Spying. Colin receives a credit in the film's titles although rumour has it the only payment he received was out of Talbot's own fee for writing the script. Sid returned to write for the Carry Ons again, six years later. In 1970 he worked with Dave Freeman on the Thames Television special, Carry On Again Christmas, which took on a Treasure Island theme and starred the likes of Terry Scott, Sid James and Charles Hawtrey. Sadly, Sid Colin never contributed to another Carry On. Given his closeness to Rothwell, it surprises me that Peter Rogers didn't ask Sid to contribute scripts for the series after Talbot rather sadly had to withdraw in 1974. 

During his long career, Sid Colin wrote for many of the top comedy talents in this country, including lots of familiar Carry On names. Sid's first work for television came way back in 1949 when he wrote for the series How Do You View? This series was revolutionary at the time, being one of the first television comedy series not to rely on radio roots for success. It starred Terry-Thomas in his instantly recognisable guise as the upper-class, mischievous cad. Regular comedic support came from husband and wife team Peter Butterworth and Janet Brown as well as the legendary Diana Dors. The series was made up of sketches, introduced by Thomas. It ran until 1953.

 

Next up was probably Sid Colin's most memorable creation, the television comedy series The Army Game. This black and white national service comedy series ran on ITV from 1957 until 1961 and many believe it contributed to the idea for the very first Carry On, Sergeant, released in 1958. Certainly the cast of The Army Game featured several well-known Carry On faces in William Hartnell, Charles Hawtrey, Norman Rossington and Bernard Bresslaw. Those first three actors all appeared in Carry On Sergeant in very similar roles. This series marked a return to stardom for Hawtrey, previously best-known for his work with Will Hay. It was also the big break for towering star Bernard Bresslaw, whose character Private Popplewell spanned the entire run and even led to a starring role in a spin off film, I Only Arsked, also written by Colin. 

In 1957 Sid co-wrote a series for Arthur Askey called Living It Up. His fellow writer was Talbot Rothwell. Probably their most famous collaboration came over ten years later when together they scripted the BBC series for which Frankie Howerd is probably still best remembered: Up Pompeii. Talbot wrote the first series in 1969 with Sid coming on board to help with the second the following year. This proved to be a popular association for Colin as it led to him writing the screenplay for the big screen version in 1971. This lavish comedy, made at Elstree Studios, again starred Frankie with a supporting cast including Michael Hodern and Barbara Murray. Bernard Bresslaw, Adrienne Posta, Lance Percival and Madeline Smith were some of the Carry On faces providing support. Sid Colin also co-wrote the two sequels, Up The Chastity Belt (with Galton and Simpson) and Up The Front with Eddie Braben, both released in 1972. Colin wrote again for Howerd in the 1973 BBC comedy Whoops Baghdad, which was along the same lines as Up Pompeii but not as successful.

 

Other notable works included the film version of the popular BBC radio comedy series, The Navy Lark, which Colin co-wrote with Lawrie Wyman in 1959. The film starred the likes of Cecil Parker and Leslie Phillips. In 1964 Sid Colin produced a rather bizarre series called How To Be An Alien which I doubt has ever been seen since. However, when you consider the cast comprised Frank Muir, Denis Norden, Ronnie Barker and June Whitfield, it surely can't have been all that bad? 

Another notable film credit came in 1974 when Sid wrote for producer Betty Box and director Ralph Thomas. He joined an impressive writing team of Harry H Corbett and Ian La Frenais to provide the script for Percy's Progress, the follow up to the successful 1970 comedy about the first male member transplant, Percy. I've never seen these films and view them somewhat dubiously however the cast of Progress is extremely impressive: Elke Sommer, Judy Geeson, Denholm Elliott, Vincent Price, Madeline Smith, Carol Hawkins, Bernard Lee, Barry Humphries, Judy Matheson and James Booth all signed up. 

 

Later credits on the small screen for Sid Colin included episodes of Crown Court and Love Thy Neighbour while his final writing project was contributing uncredited ideas to the Cannon and Ball film The Boys In Blue (which co-starred Jack Douglas and Suzanne Danielle) in 1984. Sadly Sid Colin passed away at the relatively young age of 69 in December 1989. 

I know very little about the man himself or what else his life comprised, so if anyone out there knows more, please do get in touch. I think it's a shame that such a prolific writer, who worked with so many comedy actors we still hold so dear, is shamefully neglected these days.

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