Michael Neumann The story of Cynthia Payne (London's notorious 'Luncheon Voucher Madam') could have easily been made into a tawdry little sex farce, but underneath all the kinky detail is a film aspiring toward something more than just another naughty biography. Julie Walters' vivid performance, bristling with barely suppressed nervous energy, creates a memorable portrait of a working class girl who, to make ends meet, opens a cheerfully uninhibited suburban brothel catering to the milder perversions of errant older gentlemen: costume fantasies; flagellation; transvestitism, and so forth. There's plenty of wit (much of it with a sharp edge) in David Leland's screenplay, which despite its forthright lack of inhibition is remarkably tolerant of (and even sympathetic to) the shortcomings of its characters. Names have been changed to protect the innocent (and hide the guilty), but the facts are essentially true (despite a pair of disclaimers) and Terry Jones' direction shows more tact than otherwise might be expected from a former member of Monty Python's Flying Circus, a troupe never known for their subtlety or discretion.

Woodyanders Feisty and resourceful waitress Christine Painter (splendidly played with earthy vigor and steely resolve by Julie Walters) turns to prostitution to support herself. Christine eventually becomes the madame of an immensely successful bordello which happily indulges the kinky carnal whims of an illustrious middle-aged clientèle which includes such respectable folks as judges, bankers, and members of Parliament. Director Terry Jones and screenwriter David Leland concoct a bawdy farce which manages to be quite funny and always engrossing without ever getting too vulgar or sleazy. Instead they treat the sordid subject matter with admirable wit, taste and sensitivity. For example, the clients just want to be accepted and tolerated as the blithely dirty old men that they are. Moreover, there's a surprising and even touching sense of compassion and humanity for the seedy main characters and their seamy profession. In fact, the topic of sexual deviance in its many permutations is handled in a commendably matter of fact way. Walters simply shines in her role; she receives first-rate support from Shirley Stelfox as brash tart Shirley, Danny Schiller as wise old transvestite pal Dotty, Alec McCowen as jolly regular Wing Commander Morten, Tim Woodward as jerky vice cop Timms, and Ewan Hooper as her disapproving father Edward. Well worth seeing.

lucy-19 It was brave of the director and cast to make this story, but I keep seeing glimpses of the excellent film it could have been if only the cast would stop yelling and screaming and running about. I suppose this is an attempt to be farcical, and inspires the many comments about what a hilarious laugh riot it is. I want to sympathise with Christine, Dolly and the other woman played excellently by Shirley Stelfox, but I keep being distracted by their method acting - particularly from Julie Walters, who employs her usual tricks and giggles and shouts when she can't think of anything else to do (and when there's nothing to laugh at - but maybe that's the point). Her naivety is a running gag (I thought he was making us a cupboard for us to hang our coats in!), but one that wears thin. The Carry On films at their best were full of English wit - this has none. (Though I liked this exchange: Mr Papazoglou (in see-through negligee) I love my wife! Christine: That's nice.) An opportunity missed.

dima-2 Very funny movie, one of my favorites. The entire cast was great but Julia Walters was excellent, as always. "Popazokaloo" should have become a household word, apparently not enough people saw the movie. The scene in the loo will make you laugh till you cry. I find it interesting that the men I know that have seen the movie don't find it as amusing as the women who have viewed it do. (Watch it and draw your own conclusions about my observation.)