Carry on up the Khyber

Dr Phil has been watching one of the best of the “Carry on” films, which he recorded from Film Four the other day, and watched with a rather bemused Yerboots junior to warm up after a little sledging. Carry on up the Khyber is perhaps the funniest, and also the most poignant of the series. Released in 1968 it is supposedly set in 1890 on the Northwest Frontier of the British Indian Empire. It reflects both the decline of the empire, still a very recent memory in the late 1960s and a certain commentary on the changes in British society in the 1960′s.

In many ways the film couldn’t be made now, the very idea of a light hearted sex comedy set in a British outpost surrounded by militant tribesmen desperate to kill the British is not the sort of pitch likely to appeal to contemporary film producer. In the film all the Indian/Afghan characters are played by white people, a situation that would now be considered quite offensive.  Most of the jokes would now be seen as politically incorrect, being based on either sexist or racial stereotypes that have become obsolete. The film is very much of its time.

It was made for just £260,000 and filmed in Bucks and Snowdonia, with an ensemble cast, but scrapes into the BFI list of 100 best British films at position 99. Looking at this list, it seems about right (though any such list is subjective, I too would place The Third Man at number one, and Brief Encounter at number two). The spoofing and punningly poor names are aimed in all directions, with Bungit Din, chief Burpa, and the Khazi of Kalabar being counterpointed by Brits such as Private Widdle, and Brother Belcher. The depiction of the Burpas, as brave but bloodthirsty, scheming but readily duped is matched by the depiction of the British as class bound, duplicitous, sex-obsessed and maintaining power by a combination of fear and bluff.

It is of course a light comedy, not a serious dissection of the rights and wrongs of imperialism, but does have a few interesting insights. For all its stereotyping and nostalgia it has a much more positive view of British-Indian relations than more modern films, which do seem to emphasise the tensions rather than similarities between races. The characters are quite comfortable in each others cultures, and while each is trying to maintain their own dominance are always polite and respectful, even when trying to kill each other. There is a positive enjoyment of inter-racial romance and sex. The main love interest is interesting as the only two characters that behave bravely throughout are the Princess Jehli, and Captain Keen. Their romance ends happily and interestingly for 1890/1968, no-one seems to think badly of them for being ostensibly a mixed race couple.

The characters who behave ignobly (such as Lady Ruff-Diamond who betrays the British, or Brother Belcher who is cowardly, avaricious and lascivious in equal measure) are all forgiven and sit down to a splendid dinner in the climactic scene, with no grudges held. British stiff upper lips are displayed admirably, the Burpas (Afghans) are depicted as brave warriors and the cowards on both sides are the subject of mockery, but never ostracised as a result. The principal women are strong, independent and definitely not downtrodden. The Khazi is rather camp, and played by a gay actor, only a year after male homosexuality became legal in Britain, but this is not seen to put off the sexual interest of Lady Ruff-Diamond.  It is a very inclusive, multicultural world view (though with an all white cast…)

Oh! that our own Afghan war was as simple to resolve, but the message for those wanting to be living in peace is as true in reality as in the film. Deterrence is possible if we remain true to the Regimental Motto of the 3rd Foot and Mouth “Always ready for Action”. Whether this is a reality (as in the climactic scene) or a bluff (as demonstrated in the photograph taken on parade), is incidental to deterrence, provided that the potential aggressor believes there is a real risk . The war starts when the Burpas believe that the Soldiers are not “ready for action”, and ceases when the evidence is paraded.

Now when Yerboots junior goes off to bed, to watch the other film that I recorded this week, “Black Book” by Paul Verhoeven, a much darker view of human nature and war, with much moral ambivalence. I always enjoy Verhoeven’s films, he is thoughtful in the way he makes films that on one level are comic book simplistic, and on others deeply interested in theological issues, particularly the nature of good and evil.