Favourite Horror Movies 15 – Carry On Screaming! (1966)
All About Carry On Screaming! (1966): The Horror Spoof That Stole the Show
Out of the 31 films in the Carry On series, Carry On Screaming! (1966) stands out like a lightning bolt in a foggy graveyard. It’s the one that leaned hardest into parody, skewering classic horror with rubber monsters, creepy mansions, and eyebrow-wiggling innuendo. Around 60 years later, it’s still considered one of the sharpest and funniest entries in the franchise.
Let’s break down what made this oddball classic tick and why it still has a cult following today.
Warning! This article may contain spoilers. It was created for those who have already seen the movie in question. If you have not seen the movie and plan to do so, it is suggested you do so before reading this article.
When British Comedy Met Gothic Horror
By the mid-1960s, Hammer Films had firmly cemented itself as the king of British gothic horror, churning out a steady stream of bloodsuckers, stitched-up creatures, deranged scientists and thunder-lit castles. It was into this shadowy, candlelit world into which the Carry On gang barged, ready to poke fun at the genre’s well-worn tropes, flip its clichés on their head, and lace the whole lot with a generous helping of innuendo. The result was Carry On Screaming! (1966), a film that many regard as the most successful blend of horror spoof and saucy comedy in the entire Carry On canon; equal parts spooky send-up and knowing smirk.
This was the twelfth film in the long-running series, which stretched from 1958 all the way to 1992, and marked the final instalment released under the Anglo-Amalgamated banner before the franchise moved to Rank.
So, dust off the cobwebs and mind the maniac in the lab coat we’re heading back into the fog-drenched funhouse of one of Britain’s oddest horror/comedies.
What’s Carry On Screaming! About and How It Parodies Horror
Premise in a Nutshell
Set in a vaguely period-blurred version of early 20th century Britain where misty woods, gas lamps and eccentric science all rub shoulders, Carry On Screaming! kicks off in the ominous surrounds of Hocombe Woods. Young Albert Potter is out walking with his sweetheart, Doris Mann, when an unsettling feeling creeps over her. Albert steps away for just a moment, only to return and find Doris has vanished without a trace except for a single, hairy severed finger. The culprit? A lumbering, hirsute creature known only as Oddbod.
Shaken, Albert reports the incident to the local constabulary. Enter Detective Sergeant Sidney Bung and his daft but well-meaning sidekick, Constable Slobotham. Their hapless investigation soon leads them to the creepy Bide-a-Wee Rest Home, a front for something far more sinister. Inside lurk the eerie Dr Orlando Watt and his sultry sister Valeria, who are secretly abducting young women and turning them into disturbingly lifelike mannequins before selling them to department stores. Meanwhile, one of Dr Watt’s deranged experiments results in the birth of a second monster, Oddbod Jr., unleashing even more chaos. What follows is a madcap mix of ghouls, lightning-fuelled mishaps, and gothic mayhem, all leading to a gloriously over-the-top ending that blends horror spoof with vintage British farce.
Parody, Homage, and Tone
What sets Carry On Screaming! apart is how much of its DNA it borrows from the very horrors it lampoons. The film doesn’t merely mock; it winks. It recreates gothic interiors, eerie fog, dramatic shadows, thunderclaps, electric labs, monstrous beasts, and transformations all with a cheeky grin.
- The notion of reanimation via electricity, the secret lab, a brooding scientist brother, and the monster echo Frankenstein and its descendants.
- Valeria’s vamp‑vibe: the sultry tone, the dark dresses, the implied victim‑snatching nods to Dracula, vampire lore, and the femme fatale archetype.
- The idea of people being turned into store mannequins plays up the “dead body in a shop window” trope (a kind of twisted twist on wax museums or mortal displays).
- The use of a monster’s finger being the initial clue feels like a pulpy horror gateway device.
- The resurrection of a mummy (Rubbatiti) via lightning at just the right moment is pure horror melodrama.
Where many comic spoofs go broad, Carry On Screaming! maintains structure: characters have motives, the plot threads sometimes cohere, and the setpieces reference horror tropes in a loving manner. This balancing act gives it more staying power for horror fans than a mere string of gags.
The Main Characters & Performers
The cast here is a delightful mix of regular Carry On stalwarts, guest appearances, and one‑offs. Here’s who’s who:
| Character | Actor | Notes / Quirks |
|---|---|---|
| Detective Sergeant Sidney Bung | Harry H. Corbett | A bumbling, henpecked policeman (with an unhappy wife) who often lurches into danger. This is Corbett’s only Carry On role. |
| Valeria Watt | Fenella Fielding | Dark, vampish, seductive — her voice is husky, her dress red, her actions mysterious. She’s the film’s femme fatale and arguably its most iconic presence. |
| Dr. Orlando Watt | Kenneth Williams | A mad scientist, overlord of the mannequin scheme, full of double meanings. Early drafts even had him as Valeria’s father, but that was changed (at Williams’ request) to be her brother for a better age match. |
| Albert Potter | Jim Dale | Young suitor, investigator, foil to the mad Watt siblings, occasionally more competent than the police. |
| Dan Dann | Charles Hawtrey | A minor but notable role; Hawtrey was added somewhat last minute to placate American distributors who liked his name. |
| Doris Mann | Angela Douglas | The ill‑fated sweetheart of Albert, she becomes one of the transformed mannequins. |
| Emily Bung | Joan Sims | Sergeant Bung’s wife; jealous, suspicious, and in danger of being turned into a mannequin. |
| Sockett (the Butler) | Bernard Bresslaw | Hamlet‑style butler at Watt’s mansion, with odd secrets. |
| DC Slobotham | Peter Butterworth | Bung’s sidekick, sometimes more eager than effective. |
| Dr. Fettle | Jon Pertwee | Forensic/experimental scientist who becomes a victim of his own experiments. |
| Oddbod | Tom Clegg | The monster, silent but expressive. |
| Oddbod Jr. | Billy Cornelius | The offspring‑monster created during experiments. Director Gerald Thomas is credited as providing “monster gibberish” for Oddbod Jr. |
Many of the usual Carry On ensemble (Joan Sims, Charles Hawtrey, Jim Dale) appear, but some regulars like Sidney James and Kenneth Connor are absent.
Where Carry On Screaming! Fits in the Carry On Universe
Position in the Series
This is the twelfth Carry On film. Released in 1966, it came at a moment when the franchise was experimenting more with genre (rather than school, hospital, army, etc.).
It was also the last Carry On to be handled by Anglo‑Amalgamated before the shift to Rank.
Unusual Features for a Carry On Film
- It has a sung main theme, Carry On films rarely did this. The theme was credited to “Anon” in credits, but actually sung by session singer Ray Pilgrim.
- It is one of the longer entries — at 97 minutes, it is the longest Carry On film.
- It leans more on set design, atmosphere, and horror tropes than some of the broader, gag‑heavy entries.
- Its plot is more cohesive (or attempts to be) than many Carry On films, which often used looser sketch structures.
Why Sid James Is Absent
Sid James, a fixture, fan favourite and a major crowd pull in the Carry On films couldn’t be included here because he was contractually tied up in a pantomime: Babes in the Wood at the London Palladium.
To replace him, producer Peter Rogers and the team looked for a high-profile name. They eventually cast Harry H. Corbett, known for the popular TV show of the time, Steptoe & Son. Corbett brought a slightly different energy and tone to the lead.
It is worth noting that Corbett’s character, Detective Sergeant Bung still retains the name Sidney as the role was intended for Sid James. I suggest while watching the movie and listening to Corbett’s delivery, try reimagining it with the inimitable delivery style of Sid James.
If James had been available, Carry On Screaming! would no doubt have offered a different end product. How different and would it have been better or worse? Sadly we’ll never know. That said, we can’t really decry Corbett’s performance, his skill and talent are important ingredients in the final result, which became one of the best loved Carry On movies ever made.
One rumour is that Tony Hancock was considered during casting, though that never came to fruition. Again, one can only imagine how the project would have turned out with Hancock’s input and his own dry style.
Filming, Locations & Production Details
Where It Was Filmed
- Interiors: Pinewood Studios, Buckinghamshire, a regular locus for Carry On and many British films.
- Exteriors:
- Fulmer Grange, Framewood Road, Wexham, Buckinghamshire served as Dr. Watt’s house / Bide‑a‑Wee Rest Home in exterior shots.
- Windsor and Berkshire also provided some street and town scenes (for example, the police station exit was filmed on Leonards Road, Windsor)
- Framewood Road location is a recurring Carry On filming locale.
Because many of these are private estates still exist, enthusiasts sometimes visit to compare then vs now.
Production Schedule & Budget
- Filming ran from 10 January to 25 February 1966.
- The budget was around £179,000 (some sources list up to £197,500)
- At 97 minutes, it is the longest Carry On film.
Special Production Bits & Trivia
- Joan Sims and Angela Douglas (in order to film the mannequin / dummy scenes) had full‑body plaster casts taken of themselves in the Pinewood plastering department.
- Charles Hawtrey was an eleventh‑hour addition to the cast, inserted (reportedly at request of American distributors) into the role of Dan Dann, replacing veteran actor, Sydney Bromley.
- The theme song Carry On Screaming is credited to ‘Anon’ by the movie but is often mistakenly credited to Jim Dale (some even believed it was Cliff Richard). In reality, the recorded version was sung by session singer, Ray Pilgrim.
- Interestingly, a 45 rpm single of the theme was released by Boz Burrell (later famously of King Crimson and Bad Company).
- Valeria’s blood‑red ring was apparently a costume purchase by Fenella Fielding, who saw it while helping pick out wardrobe. The film’s budget, she was told, was too tight to allow spending £9 on an accessory — but she insisted.
- The car Bung drives, a 1904 Brushmobile (an early electric car), was reportedly loaned by Lord Beaulieu. That car survives in a museum.
- The studio director, Gerald Thomas, provides the “monster gibberish” for Oddbod Jr.
- The film made Time Out magazine’s list of the Top 100 Comedy Films (it was placed at number 99) – a rare distinction for a Carry On entry.
- An often‑quoted gag: when Detective Bung rides his horse and cart, the background music briefly echoes the Steptoe & Son theme (a cheeky nod to Harry H. Corbett’s other role).
Suitability: For Kids or Adult Audiences?
By modern standards, Carry On Screaming! is relatively benign. There is no overt nudity, no strong language, and no graphic gore. However and importantly the humour is laden with innuendo, double entendres, suggestive lines, and comic sexuality. Some jokes fly right over younger heads; others are clearly aimed at an adult sensibility.
Monsters are more silly than scary. The mannequin transformations are absurd rather than horrifying. So, a younger viewer might enjoy the monster antics, but many of the jokes rely on a mature sensibility.
At its original release, the film was rated “A” (Adult) in the UK (meaning more suitable for adults or older youths). It is now often rated PG or with parental guidance.
If you’re showing it to younger horror fans, it’s a mild introduction. It’s eerie in parts, but ultimately comedic.
The Creature(s): Oddbod, Oddbod Jr., and Costume Design
The Significance of Oddbod
Oddbod is, in many ways, the film’s physical embodiment of horror parody. Silent, hulking, hairy, and imposing, he recalls Frankenstein’s monster and classic Universal/Hammer creatures. His presence grounds the film in “monster movie” territory, but his awkward movement, lack of speech, and comic timing make him part menace, part comic relief.
Oddbod Jr., conceived through the mishandling of Oddbod’s severed finger in a lab, adds a twist: horror breeding its own trouble. He is smaller, faster, and more unpredictable.
Their existence flips the usual “mad scientist creates creature” narrative. Here, the creatures are central, driving chaos, suspicion, and comic setpieces.
Costume, Makeup & Performance
The costumes are intentionally exaggerated. Oddbod is a patchwork of fur, mask, monster bits. He’s not sleek, but gloriously clunky. The design embraces a “B‑movie monster” aesthetic, leaning into the theatrical rather than realism.
Tom Clegg, a stuntman, donned the suit for Oddbod; Billy Cornelius took the role of Oddbod Jr. The physicality of their performances is crucial: lumbering steps, sudden movements, awkward gestures — all contribute to the humour.
Their costumes had to allow enough flexibility to move, though not so much that the illusion broke. The rubber and fur would have made heat and visibility issues, so much of the performance leans on body language over facial expression.
Another fun note: Gerald Thomas (the director) is credited with creating the gibberish language for Oddbod Jr.
Why Carry On Screaming! Is Held in Such High Regard
For horror fans and Carry On aficionados alike, this film tends to sit near the top of many “best of” lists. Here are key reasons:
- Balance of Parody and Respect
Unlike spoofs that mock wholesale, Carry On Screaming! treats horror tropes gently. It plays with them, leans into them, but doesn’t completely ridicule them. The result is affectionate, not vicious. - Cohesive Plot & Structure
Many Carry On films are episodic or gag-based; this one tries harder to maintain narrative threads (e.g. mystery, transformation, monster threats) that converge in a final act. - Strong Performances & Cast Chemistry
Kenneth Williams gives his usual razor-sharp edge as Dr. Watt. Fenella Fielding’s Valeria is seductive, mysterious, and memorable. Jim Dale brings earnestness. Corbett’s Bung provides a wobbly spine to the chaos. The supporting cast (Joan Sims, Butterworth, Hawtrey) keep the familiar Carry On energy intact. - Production Values That Punch Above Its Weight
The sets, lighting, photography (Alan Hume was the cinematographer, who worked on genuine horror films) lend a gothic atmosphere unusual for a comedic series. - Longevity & Cult Appeal
Decades after its release, Carry On Screaming! remains in circulation, part of retrospective screenings, horror‑comedy collections, and fan festivals. Its blend of horror and humour gives it repeatability. - Iconic Moments & Quotable Gags
Who can forget “Do you mind if I smoke?” or the mannequin reveals, or the electrically charged reanimating brother? The film is littered with lines and scenes that stick.
Because of all this, the British Film Institute named it one of the five best Carry On films in a 2018 retrospective.
Legacy: Impact on Comedy, Horror Spoofs & British Cinema
While Carry On Screaming! did not revolutionise cinema, it contributed meaningfully to how comedy could riff on horror in the UK. Its influence is seen in:
- British Horror-Comedy Hybrids
Later works, both in film and television, adopt its template: treating monsters seriously within a comic framework rather than reducing them to caricatures. Shows like The League of Gentlemen, Shaun of the Dead, or What We Do in the Shadows owe, in part, to films that show horror can laugh back. - Genre-Parody Confidence
The film demonstrated that the Carry On brand could stretch beyond domestic or institutional satire into genre play. This opened doors (in theory) for other genre parodies within the British comedy context. - Cult & Fan Appreciation
Carry On Screaming! remains a fan favourite, often appearing in horror film festivals, Carry On marathons, and special releases with commentaries and restored prints. Its presence in film buffs’ lists and retrospective programming cements its place in British comedy/horror lore. - Preservation of a Unique Era
The film captures a moment when British studio cinema, horror, and bawdy comedy collided. It’s a time capsule of 1960s sensibilities, not least in its production values, costuming, and humour style. - Stage Adaptation
More recently, the film has inspired adaptations — for example, a stage production announced in Birchington, bringing its gothic humour to live audiences.
Though not a massive blockbuster in its day, its continuing appreciation shows that blending fear and farce, when done smartly, has enduring appeal.
Stradling Two Genres with Success.
Carry on Screaming! treads the tricky tightrope of combining a (somewhat campy) horror movie with a slaptick comedy product. A tricky feat to achieve but Carry On Screaming! seems to pull it off well.
That said, how does it fare based on one or the other of the totally opposite genres?
How Carry On Screaming! Rates as a Horror Film
As a horror film, Carry On Screaming! is more affectionate pastiche than genuine fright fare. It borrows heavily from the iconography of gothic horror with its shadowy mansions, bubbling laboratories, undead monsters, and mysterious siblings with dark motives. All of which are lovingly recreated with surprising attention to atmosphere. The cinematography by Alan Hume adds a layer of authenticity, often resembling the look and feel of Hammer Horror films of the same era. However, the scares are entirely superficial. There’s no real suspense or menace, and the monsters (Oddbod and Oddbod Jr.) are more lumbering nuisances than sources of terror. Horror fans will appreciate the genre references and the occasional eerie visual, but they’re never meant to unsettle. It’s horror with the fangs filed down – it’s spooky in flavour, not effect.
How Carry On Screaming! Rates as a Comedy
As a comedy, however, the film hits its stride with near-perfect timing. The humour blends slapstick, wordplay, and classic Carry On innuendo, all delivered with the cast’s trademark cheek. Fenella Fielding steals scenes with her deadpan delivery and sultry presence, while Kenneth Williams hams it up brilliantly as the mad Dr Watt. Harry H. Corbett brings a drier, more sardonic wit that balances the broader comic performances. The script, packed with double entendres and running gags, keeps the pace lively, and the physical comedy, from monsters stumbling about to bungled police work. keeps things light. Though some jokes show their age, much of the humour still lands, particularly for fans of British innuendo and absurdity. As a comedy, Carry On Screaming! remains one of the sharpest and most enjoyable entries in the series.
Epilogue: A Horror Fan’s Take
If you’re a horror fan, Carry On Screaming! offers a fascinating mirror to the genre you love. It’s not about ripping horror apart, it’s about dancing with it. The monsters are real (within the film’s world), the lab experiments have consequences, and the reanimation sequences delight in dramatic timing. But none of that is allowed to stay too serious. The Carry On lens smudges gothic edges, adds blinking lights and sexual innuendo, and turns menace into mischief.
When you watch it, try to spot:
- The lighting cues and shadow play that echo Hammer horror.
- Moments when a monstrous reveal is undercut by a joke.
- How the music and set transitions shift from spooky to playful.
- The small production touches (e.g. gargoyles, lab equipment, mannequins) that root it in horror aesthetics.
It’s a film meant to be appreciated by genre lovers, those that know horror, laughs at horror, but still gives horror a decent audience. For those who enjoy monsters, hidden corridors, reanimation tropes, and gothic tone, Carry On Screaming! is a strange and cheerful gift.
MOVIE RATING
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