The Carry On Girls- Book Review

Back in the 80s and early 90s, there was traditionally a Carry On season at least once a year on ITV. This would be all the films shown in chronological order over the course of several weeks. This would often be the case with the annual Bond season too. These were a special time for us to gather together as a family and immerse ourselves in movies that ran the gamut from the ridiculous (in the best possible way of course) to the sublime.

I loved the innuendo and silly slapstick humour of the Carry On films back then but might it be deemed problematic now with its objectification of women? Some argue that it is the women who have the last laugh as they are the ones who poke fun at male weakness. I'm not in any position to comment either way but it is an interesting point made by author Gemma Ross, ably accompanied in this undertaking with her husband Robert Ross.

There were a large number of actresses across the 31 films and each gets a detailed biography including candid interviews from the surviving actresses or archival quotes from past interviews for those who are no longer with us. These biographies are far more than mere flattering pieces, as they are notably critical of the prevailing attitudes and treatment many of these women faced from the often misogynistic and sexist British film industry of that era. Interestingly, the Carry On films stood out for their progressive approach in this aspect.

The authors confront issues, but find bright spots including from the actresses themselves who share positive experiences, emphasising a familial atmosphere without concerns. Kenneth Williams recalled that when there was a love scene or some guy was getting into a lather about a woman in some state of undress, the women were usually sent home and it would be director Gerald Thomas in the eye line of the actor but out of scene telling the actor to get all hot and bothered. This forward thinking protection of women in the workplace was commendable and ahead of its time. Additionally, the women were often paid relatively well and, in some cases like that of Shirley Eaton, even more than their male counterparts.

The book is a handsome tome with good quality paper stock and crystal clear photographs taken from the films are archives. The layout of the pages is consistent with large photographs of the actresses in their film roles as well as promotional shoots. This book is a respectful look at the first ladies of comedy and is highly recommended by me.