Camarotes indiscretos

Hearing a drunken sailor (I think it was the captain himself)in this 61 year old delightful film, singing that nine word song to the tune of Onward Christian Soldiers, over and over again, for the first time in at least seventy years today, immediately caused me to increase my rating by two points, from 7 to 9. I know I'll be singing it again repeatedly for weeks and months and maybe even years to come!

Peggy Cummins is breathtakingly gorgeous as always. Joan Sims's turn as Maud Pritchett is funny. I have a soft spot for Donald Sinden.

I had high hopes for this film as it features a whole host of very able, experienced and talented supporting characters such as Richard Wattis, John le Mesurier, Reginald Beckwith, Bill Kerr, Donald Sinden, Joan Sims etc etc! Yet, it falls flat on its face and becomes a very long yawn! The major problem is mainly the dialogue, which isn't at all funny, and a storyline about a ex tramp steamer captain being given charge of a passenger liner ship, played by John Gregson, who because he is totally ill equipped to play the cheerful, 'chummy' and 'Mr Nice Guy' to an eclectic mix of passengers, finds himself in a constant state of embarrassment, discomfort and confusion. Gregson is no Rex Harrison, who might have carried off the role with some aplomb, instead Gregson struggles with the 'humorous scenes' where due to his lack of experience in the job, he commits a series of painful social gaffes which in itself becomes the entire humour thread of the film. Beckwith puts in a good performance as the captain's valet with Richard Wattis, always a joy to see, playing the suave and urbane ship's purser. Yet, despite a good supporting cast, the film from the point of humour, never moves out of second gear.

A strange writing triumvirate of John ('The Devils') Whiting, Bryan Forbes and Nicholas Phipps (who also plays one of the passengers) turned Richard Gordon's 1954 novel into a virtual remake of 'Doctor at Sea', who's 'naughty' jokes, quirky supporting cast (most of whom plainly never left the obvious set with painted skies at Pinewood) and shiny Eastman Color photography coalesced soon afterwards for a third time into 'Carry On Cruising'.

Like many of its ilk Captain's Table looks like a very typical British 50s comedy and while good fun it's certainly no classic. It's very reminiscent of the Love Boat TV series with a cast of Britain's best it should shine - but it's all just for laughs. From a running jokes about Bridge players, to Donald Sinden's womaniser, it's all pretty much what you'd expect The women are the stronger characters here, and the plot is all about them trying to land the new captain. Fun but hardly original.

However, and it's a huge however, it is one of a handful of films that should be watched as being one of the better examples of the transition in British Cinema from social comedies to the more bawdy comedy of Carry On. You can actually see right up on screen the change coming and the difference between Genevieve, School For Scoundrels, Passport to Pimlico, and the Carry On films. The comedy is not Carry On saucy yet, but sex is a real theme throughout. No one foot on the floor cinema here. No coyness. There are bikinis everywhere and while not saucy it ain't coy either. Something happens in cinema around the Bikini Atoll, 1957, where the Big Bang suddenly does seem to liberate its own double entendre.

The whole of Captain's Table has characters that will become stock in the 1960s, a very camp batman, which Kenneth Williams will make his stock and trade, at the beginning of the film we have a seaman who could be Sid James, and throughout there are touches and ideas that Carry On will take and fly with.

If British Comedy from the 1950s is about class: either upper twits at play or working class succeeding despite authorities, then 1960s is about the triumph of the working man finding status and financial freedom. Captain's Table straddles both these with lots of upper-class twits (the Army Captain in particular) and a more blatant approach.

The film itself is lightweight fluff and fun because of it, but as a record of the changing point in British cinema it holds a place.