The Carry Ons certainly went downhill towards the end. Up to the end of the 60s I reckon they were good clean fun.

You might enjoy reading Keeping the British End Up: Four Decades of Saucy Cinema, which details why sex (or at least smutty nudity) became just about all British cinema had to offer by ‘74.

You also might be interested in the BritMovie forum were us fans can wallow in the delights of British movies. Sometimes it’s like 1970 never happened! (My handle there is simply Holland - like Alec Guinness’ character in the Lavender Hill Mob.)

Keeping The British End Up? The last line of The Spy Who Loved Me if I’m not mistaken.

I suppose there is little the Carry On films have in common with Emmanuelle…, except that in the final chapter Matthew talks about enjoying the Carry On films before explaining that some of the 70’s films such as the Confessions… pictures weren’t up that standards, and then goes on the explain that Emmanuelle… was even worse. But I confess, Emmanuelle In Soho is a film that has passed me by.

I too recently read Shepperton Babylon and enjoyed it as much it sounds like you did.

I’ve a couple of criticisms though.

There’s a couple of standout factual errors for a start; the celestial escalator in AMOLAD, like most Powell & Pressburger films, was created at Denham not Pinewood.

Throughout the ‘The Singer not the Song’ chapter (my favourite along with the Ealing one as they’re my favourite eras) I was desperate to learn why the Rank board was dismantaling the operation. The box office failure of TSNTS couldn’t have been wholly responsible.

Anyway, shame you don’t enjoy Carry Ons, lighten up already, but what relationship do they have to Emmanuelle In Soho?

Yes, it’s time once again for the Britblog Roundup, the collection of great posts from the four nations on our fair Isles. Don’t forget that you can send in your nominations for next week’s to britblog AT gmail DOT com.