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"Stop Messin' About" Kenneth Williams.

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Uploaded by on Apr 22, 2008

The Very Best of Kenneth Williams. Narrated by Barry Took.

After the war, his career began with a number of roles in repertory theatre, but few serious parts were to lend themselves to his style of delivery. His failure to become established as a serious dramatic actor would disappoint him, but it was his potential as a comic performer that gave him his big break. He was spotted playing the Dauphin in George Bernard Shaw's St Joan in 1954 by the radio producer Dennis Main Wilson, who was casting Hancock's Half Hour. He would lend his distinctive voice and amazing vocal talent to the radio series to almost the end of its run, five years later.[3] His nasal, whiny, camp-cockney inflections (epitomised in his famous "Stop messing about..." catchphrase) would endure in popular lore for many years.[4]

When Hancock tired (or grew envious) of him, Williams joined Kenneth Horne in the series Beyond Our Ken (1958--1964), and its sequel, Round the Horne (1965--1968). In the latter, his roles included Rambling Syd Rumpo, the eccentric folk singer; The Amazing Proudbasket, human cannonball; J. Peasemold Gruntfuttock, professional telephone heavy breather and dirty old man; and Sandy of the extremely camp couple, Julian and Sandy (Julian was played by Hugh Paddick), notable for their double entendres and use of the underground gay slang, Polari.

Williams appeared in a series of West End revues including Share My Lettuce with Maggie Smith and written by Bamber Gascoigne, and Pieces of Eight, which included sketch material from Peter Cook who was still a student at Cambridge University. The revue included a number of Cook sketches such as One Leg Too Few that would become classics and also starred Fenella Fielding. Williams' last revue was One over the Eight, in which he starred with Sheila Hancock. Williams later starred opposite Jennie Linden in the stage hit My Fat Friend in 1972. He also appeared with Ingrid Bergman in a highly successful stage production of George Bernard Shaw's Captain Brassbound's Conversion in 1971.

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Top Comments

  • Its weird that some think of Carry on films as..... cheap.

    Nowadays its like organising an invasion trying to get a real studio or filming on location.... Its hard as hell.... but these guys did their best, and the results were truelly warming. The lighting and production had characted and love and make you 'feel'. Many people have said that the little things in the carry ons remind them of better days. And accolates will always go to the amazing cast.

  • The Master at work

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All Comments (16)

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  • LOVEEEEEEEEEEEEEEEEEE HIM TO BITS

  • @FreyaBlack yeah thats what i mean. They have a a classic distinctive character that is all their own.

  • @strunway Man it doesn't matter if they didn't have professional studio and loads of money but those films still alive, still the best and the actors, mainly Kenneth Williams made them immortal. So I agree with you money doesn't everytning.

    Carry on forever. Kenneth Williams is a hero, a legend, the best actor/comedian ever lived!

  • Patsy Rowlands said that she found Kenny intimidating. I understand that he delighted in making cutting or vulgar remarks to provoke a reaction. According to some sources Kenny even flashed his privates in order to shock. I believe Barbara was aware of this before their first encounter and that was the motivation behind her feisty observations about Ken's false beard. I don't know if it did resemble Fenella's pubic hair but it certainly broke the ice between them.

  • I think you're having a blonde moment.....he said it that way to amuse you.

  • " and i'd like to say ladies and gentlemen.... what an honour it is for you to have me!"

    he didn't really think that poor man.

  • REALLY? Haha, that was brave of her!

    And they were best friends after that, huh?

    Lol!

    Thanks!

    -Amanda

  • She says "Don't you have a go at me with Fenella Fielding's minge hairs around your chops mate"

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