..or "Carry on History"? Henry VIII (Sid James) manages to squeeze in two extra wives into this daft historical romp that sees Cardinal Wolsey (Terry Scott) and Lord Chancellor Cromwell (Kenneth Williams) having to run the gauntlet of the King's pleasure as he marries "Marie" (Joan Sims) then decides he needs to divorce her for "nonconsumption" so he can marry the playful young "Bettina" (Barbara Windsor). It's off with their heads a-plenty as the lustful king plays politics and romance much to the chagrin of his officials, and I thought - in quite an entertaining fashion. The script is riddled with double-entendres, but they are actually quite a bit cleverer this time and Williams, James and the often underused Charles Hawtrey (poor old "Sir Roger") deliver this film well enough. This was certainly one of my favourites from this gang - it looks good and maybe Guy Faulkes should have watched it first?

Henry Tudor just got ruder! 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