British critics hated the “Carry On” films until late in the decade Carry On Up the Khyber (1968) hit a satirical note. Critics felt the movies pandered to the lowest common denominator and were a poor substitute for the Ealing comedies which had given Britain an unexpected appreciation among American comedy fans.
It was a well-known fact the comedies did not always travel. Apart from Jacques Tati, the more vulgar French comedies featuring the likes of Fernandel were seen as arthouse fare. Unless they featured a sex angle or the promise of nudity, coarse Italians comedies struggled to find an international audience. The “Carry On” films were bawdy by inclination without being visually offensive
Carry On Sergeant (1958), the first in the series, had been a massive success in Britain. Distributors Anglo-Amalgamated was so convinced it would find a similar response in the U.S. that it was opened in New York at a first run arthouse. Although the comedies were hardly standard arthouse fare, this was generally the route for low-budget British films. The picture lasted only three weeks and other exhibitors taking that as proof of its dismal prospects ignored it.
The follow-up Carry On Nurse (1959) took an entirely different route when launched in America in 1960. This time New York would be virtually the last leg of its exhibition tour. Instead it opened on March 10 at the 750-seat Crest in Los Angeles. Away from the New York spotlight, the little movie attracted not just good notices but decent audiences.
Instead of being whipped off screens after a few weeks, it developed legs. In Chicago it ran for 16 weeks in first run before transferring to a further 50 theaters. Within a few months of opening it had been released in 48 cities. In Minneapolis it was booked as a “filler” at the World arthouse, expected to run a week and no more. Instead, it remained for six weeks and when it shifted out to the nabes out-grossed Billy Wilder’s big-budget comedy The Apartment (1960) with a stellar cast of Jack Lemmon and Shirley Maclaine.
In its fourth month at the 600-seat Fox Esquire in Denver where it opened in May, it set a new long-run record for a non-roadshow picture. It had been taking in a steady $4,000 a week since opening.
SOURCES: “How To Nurse a Foreign Pic That’s Neither Art nor Nudie: Skip N.Y.,” Variety, Aug 24, 1960, 3; “British Carry On Nurse A Sleeper in Mpls With Long Loop Run, Nabe Biz,” Variety, Aug 24, 1960, 18;
2 thoughts on “Follow That Nurse – What a Carry On”
This is all news to me; I’d assumed Carry On films only played in the Uk, so clearly I’m wrong. It seems like the point where they started spoofing other movies rather than public institutions is a key one in their development, but British audiences seemed to lap most of them up even as the formula changed…
It was interesting that they were largely arthouse hits in America. The series was such an institution for a long time that audiences didn’t seem to care about the subject matter as long as the jokes and innuendo kept rolling in.
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