Up the Chastity Belt

Up the Chastity Belt is a comedic film released in 1972, a period in which British comedy was at one of its peaks with several actors and comedians enjoying widespread popularity. This particular comedy stars Frankie Howerd, a comedian renowned for his unique brand of humor filled with double entendres, mischievous asides, and a wildly expressive face that endeared him to the British public.

The film was set in a pseudo-historical medieval England and plays with the tropes and motifs from that era. Howerd takes on the dual roles of Lurkalot, a serf, and his descendant, the hopeless and cowardly English King Richard the Lionheart. As Lurkalot, Howerd works on Sir Coward de Custard's estate and stumbles upon various comedic situations that reveal his wit and cleverness despite his lowly position.

The story kicks off in earnest with Lurkalot’s discovery of his noble heritage which brings with it the responsibility to protect the "chastity belt" of the title. The chastity belt is a mythical item purported to have magical qualities and is deeply entwined with the fate of the nation. Throughout the narrative, Lurkalot is confronted with absurd characters and situations that parody chivalric conventions and lampoon the hypocrisies of medieval society, which are not so different from those of the modern world. The movie blends slapstick with farce and Lurkalot's sarcastic commentary to form its comedic backbone.

David Kernan plays the character of Sir Coward de Custard, the not-so-noble nobleman who embodies the flippancy and insecurity that plagues those in power. He is the foil to Lurkalot, his cowardice starkly contrasting Lurkalot’s inadvertent bravery and cunning. Kernan’s performance blends seamlessly into the absurd tapestry of the movie, providing a straight-man dynamic to Howerd’s zany lead.

Nora Swinburne, another veteran of stage and screen, brings grace and wit to the role of Lady Ashfodel. As one of the few saner characters amidst the chaos, her performance grounds the story in a semblance of normality, betraying a sly humor of her own that competes with the more overt comedy of her co-stars.

The film's plot cavorts through various storylines involving mistaken identities, farcical quests, and anachronistic jokes that blurred the line between the medieval setting and the then-contemporary 1970s British culture. The influence of the comedic tradition from stage plays is evident, with Howerd often 'breaking the fourth wall' to glibly address the audience directly or comment on the irrationality of the proceedings.

High on visual comedy, Up the Chastity Belt is filled with sight gags that exploit the physicality of Howerd’s humor and the outrageous costumes and sets characteristic of pseudo-historical farces. In this, the film shares a comedic lineage with other slapstick adventures of the era, enabling audiences to escape into a world where the usual rules don’t apply, and the primary goal is joyous laughter.

Beneath the surface humor, the film is also a playful commentary on class politics. Lurkalot's rise from the peasantry to rubbing elbows with the upper echelons of society provides ample opportunity to poke fun at the foibles of both the rich and the poor. The humor is not mean-spirited, but it does not shy away from capturing the absurdity inherent in the hierarchies of the time.

Adding to the comedic ambiance is a colorful supporting cast of characters, each more ludicrous than the last, from bumbling knights to cunning wenches and haughty nobles. These characters are played with a keen sense of comedic timing by a competent ensemble. The performances are broadly drawn, yet they fit perfectly within the world created by the director, who orchestrates the madness with a knowing wink to the audience.

The movie, like many of its era, dabbles in a brand of humor laden with innuendo, a hallmark of Howerd's stand-up routines. The script gives him plenty of opportunities to deliver his trademark one-liners and react to the foibles and follies of those around him with a raised eyebrow or a leering glance. This style of humor may not suit all tastes and is very much of its time, making it a snapshot of early '70s British humor.

Up the Chastity Belt stands as a testament to the vintage comedy of its era, offering a joyride through a fictional medieval realm where everyone is fair game for a laugh. It's a relic of a specific type of British humor that holds nostalgic value for fans of the period and continues to provide a whimsy and amusement for those discovering it today. The film’s embracing of absurdity and silliness, powered by Frankie Howerd’s singular brand of comic performance, ensures that Up the Chastity Belt remains a curious item in the annals of comedic cinema.