That was an excellent one.

Overrated

The best films of this genre always show a path and provide a takeaway for being a better person.

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

In the sequence near the end of the film before Sid James is about to go on stage in the play The Mating Season his dresser says she 's been offered a job on the new bond film You Only Live Twice. This is wrong because this is in 1976 and you only live twice was made in 1966 or 1967, probably the film The spy who loved me would of been more likely. Bad research here, when Sid James goes on stage he dies this was a true incident. The dresser before he dies on stage writes a note and leaves presumably to work on the film. This was an interesting film but how true it was in general is open to question. The dresser is introduced at the start of the film when Sid James is filming Carry on Cleo. The main plot of the film is Sid James affair with Barbara Windsor.

In the U.S. in the 60's and into the early 70's the 'Carry On' films were telecast as Late - or more usually, as Late, Late Shows: in the age before wall-to-wall content/media these films were, in the States, filler fare - almost throwaways, because it's likely that U.S. distributors didn't, or couldn't, demand or get great sums for the 'Carry On' films from broadcasters who used them to flesh-out (pun definitely and cheekily intended!) their late-night schedules. But whenever a 'Carry On' film aired I did my best to see and enjoy it - there's just something so utterly and unselfconsciously charming about them that made them irresistible to me. (My favorite, by the way, is 'Carry On, Sergeant,' because it features the brilliant, and under-appreciated - at least on this side of the Pond, William Hartnell.) The 'Carry On' films are from a time when good, clean fun could be and was enjoyed, a time before the soul-corroding rubbish of political correctness and the supercilious hypersensitivity with which it burdened life in all of its dimensions except for the realm of the individual's soul, hadn't yet begun to darken everyone's doorway and to dumb-down and dull to death what now passes for education, newspapers, and television and theatre; it was also a time before we let our children be soaked in the properly adult matters of sex and sexuality - and yet even children could and did enjoy the 'Carry On' series. It was a time in which harmless titillation and suggestiveness allowed viewers' imaginations to do their own good and joyous work; it was nothing like nowadays when the Beeb, and much of Hollywood, vomits monotonously nothing but dull Orwellian multi-culti preachiness and strictures - which are far worse than "liberal" and "progressive" critics of the foregoing vibrant and delectable "monoculture" have had the imagination to have yet grasped (heaven forfend that anyone should scandalize a Mohammedan or offend another nunnish radical feminist to anguished despond and spitefulness). It was the existence of the now dead and late lamented, at least by me, monoculture's healthful customs and manners that made the Carry On films the widely enjoyed success that they were; nowadays, with the so-called barriers to everything and anything (except, obviously, to genuineness and to the decency which it begets and widespreads) having been demolished, and all babies having been thrown out with the bath water of the monoculture's supposedly unique and malicious "Eurocentric" hypocrisy, the consequent lack of spontaneity and decency have yielded nothing but Orwellian dullness and monotony which the monoculture's detractors had supposed themselves to be gloriously relieving us of. It was the existence of sound rules and healthful customs that made funny business funny; now that all those old rules have gone, the lack of rules and "barriers" (except, of course, those prescribed for us by our self-vaunted "correct" elites who have replaced the people we once knew to be our betters) has rendered nothing funny and everything grim and seedy and contentious - 'Much Ado About Nothing' indeed.U.S. 'Carry On' film fans saw very little of the UK publicity for, or British gossip sheets' focus on, the 'Carry On' cast members, so I ought to take 'Cor, Blimey!'s' account of the James-Windsor affair with a large grain of salt; and comments made by Britons here on IMDb, having pointed out the film's taken licenses and liberties, I feel that grain of salt is a proper one to take. It was filmed on a very low budget as its resort to extant, ready-to-hand cinema sets, props, and costumes testifies amply; and yet, like the 'Carry On' films themselves, 'Cor, Blimey!' has its own irresistible charms because it's well-cast, well-played and, almost throughout, astutely written from an ear finely attuned to the sensibilities of its period and the milieu in which James and Windsor carried on their affair. Despite its lackluster editing and somewhat muddy soundtrack, I enjoyed it immensely, and so with great enthusiasm I recommend 'Cor, Blimey!' to everyone who's ever enjoyed - even secretly lest they dread to suffer accusation of deserving to belong to the vulgar mass or, perhaps worse, to one or another of the so-called "Oppressor classes" - a good old, pull-the-bung-out (but only halfway, because it's always far funnier when your imagination does the really funny work) hilarious 'Carry On' film.Now, since "Vanity of vanities; all is vanity," let men go out and stare unselfconsciously at greater and lesser bosoms and let women giggle gleefully at the men making fools of themselves. Carry On, All!

I really enjoyed this film, and whether it is truth or fiction, it's a good watch as the cast selection is brilliant. It does portray some of the darker aspects of both James' and Williams' persona's but who's to say they weren't like that. The previous comment states that Sid was a loving husband, the film never says he wasn't, in fact the film states on more than one occasion that he does love his wife, but that doesn't mean he was faithful.I love 'Carry On' films and have done since I was little and since Sid James died when I was 2, I don't remember any media about him or Barbara Windsor or Kenneth Williams. I don't know if this is truth or dirt-digging but that's no reason to write it off, and it's a good watch especially for the actors playing the roles so well.

The British public's love affair with the 'Carry On' movies continues with this triumphant re-telling of actress Barbara Windsor's ill-fated romance with her comedy co-star Sidney James.The film covers the period 1964-1978 and is based on Terry Johnson's hugely successful 1998 stage-play "Cleo, Camping, Emmanuelle and Dick", now nicely opened up for the big screen. Utilising many of the play's original actors, including Samantha Spiro, Geoff Hutchings and Adam Godley, 'Cor Blimey!' is a real treat for any self-respecting 'Carry On' fan. In particular, Spiro excels as the younger Babs Windsor. She is uncannily accurate in looks, mannerisms and voice, so much so that when the real Windsor appears as herself in the final scene, the join between the two actresses is hardly noticeable.Hutchings and Godley are also perfectly cast as Sid James and Kenneth Williams respectively, but viewers expecting just laughs will be a little disappointed. Aside from the leads, Williams is portrayed as a lonely unfulfilled hypochondriac and Charles Hawtrey (played by Hugh Walters) as an alcoholic mother's boy.Always moving and sensitively acted, 'Cor Blimey!' is a touching but extremely engaging and enjoyable film. Many fans will be left with tears in their eyes by the end. Several factual inaccuracies aside, this is top notch entertainment, no messing about! Highly recommended.