Carry On Richard Curtis

I have written before about feeling vaguely exploited when enjoying Curtis's Love Actually, a film full of strong performances that can mask its mildly dodgy sexual politics. In similar vein The Groupie and I enjoyed re-watching The Boat That Rocked the other day. Bill Nighy delivers his usual scene-stealing performance as, well, Bill Nighy. The lamented Philip Seymour Hoffman is excellent. So is Rhys Ifans. I could go on. Like the  more acclaimed parts of the Curtis oeuvre (Four Weddings and a Funeral; Notting Hill) Boat is at its strongest as an ensemble piece. The critics didn't like it and took issue with its perceived misogyny. I take their point on the misogyny although the Groupie (who should be a poster girl for feminism) was not offended. What I find hard to understand is that critics failed to find it funny. It is. And what a soundtrack!

As I pondered whether I should be feeling guilty at the pleasure I took in this cinematic confection, it came to me that Curtis films are the bigger budget, more refined successors to that peculiarly British filmic form, the Carry On film. Which leaves me to make the important point that if you can't laugh at Carry On Cleo and Carry On Up the Khyber, then there's a defect in your sense of humour. Or possibly in mine - take your pick. Conceivably we could both be right.

The Boat That Rocked. 68/100.