User Reviews

I remember me and my friends renting this out back when we were teenagers because the video cover made it look like it was going to be a sexy romp. Imagine our surprise when we sat down to watch it and discovered it had all the sexiness of a John McCririck workout video. In fairness to me and my teenage mates, we actually really liked this one, despite the false advertising. It begins with a disclaimer, pointing out that this is absolutely not the story of the famous British madame, Cynthia Payne. And clearly it isn't seeing as the madame in this one is called Christine Painter - a name not similar in any way whatsoever. So, yeah, despite the disclaimer, this basically IS the story of Cynthia Payne; of how she became a prostitute and set up a happy house which attracted a bunch of elderly men in need of servicing. It was directed by Monty Python's Terry Jones and was even banned in Ireland for two months! Revisiting it all these years later, I would say it isn't massively funny but its still a decent movie, with Julie Walters putting in a good performance as Payne.... I mean Painter.

Julie Walters is great in this story of a woman who starts off life working in a café but ends up being arrested for living off the immoral earnings made running a brothel for the great and the good. It's loosely based on the rise and fall of the renowned madam Cynthia Payne (who consulted on the drama) and reaches inside the murky sex industry, laying bare peccadilloes galore as we discover a wide variety of kinks that keep all ranges of society entertained and/or employed. "Christine" is a shrewd business woman whom aided by her stalwart "Dolly" (Danny Schiller); "Shirley" (Shirley Stelfox) and the RAF veteran Wing Commander - in panties and a bra - "Morten" (Alec McCowen) is making quite a go of her elicit enterprise. The police pop up now and again, but for the most part Terry Jones left me with thinking that this is actually quite an empowering drama. Certainly some of the women taking part do so out of necessity - and perhaps that is rather underplayed here - but we are also presented with the inescapable fact that human beings are all different and that the Victorian-era proscription of sex, and of sexual practices between consenting adults is long outdated and certainly no business of the state or their agencies. David Leland has written a script that is peppered with realism, sarcasm and proves ideal for the on-form Walters and her well targeted delivery. It does meander around familial discord a bit, which I didn't need - but the last few scenes speak (or should that be spank) volumes about the hypocrisy and double-standards that prevail in a society that should enjoy sex and keep it's nose where it belongs... It's good fun and thought-provoking in equal measure, and well worth a watch.

As a lifelong stickler for the correct dating of films this film is rather irksome, since although scheduled to be screened at the 1986 London Film Festival (and bearing that date in the credits) it didn't actually hit cinemas until early the next year due an injunction brought by Mary Whitehouse, which guaranteed it plenty of free publicity and ensured that it will always be dated 1987 in the reference books.

If it weren't for the portrait of Charles & Diana adorning one of the walls you'd take this film for one set in the fifties. Cynthia Payne's madam is described as "Catering strictly for the tastes of the older gentlemen", and one of several poignant moment is the Christmas party, which makes you realise how lonely and pathetic her clientele must really be.

Julie Walters is of course terrific, but Shirley Stelfox also deserves honourable mention as her business partner who goes about her business with an air of bored amusement. It ends with a wonderful sight gag, which may or not be in Miss Payne's imagination.

Personal Services is an exceptional film that has been underrated, ignored and obscured by the avalanche of goon comedies which crowd the late 80's and 90's. Its portrait of a kindly brothel keeper do-gooder (which might be described as the kinky, middle aged s&m version of Austen's Emma) is so packed with outrageous imagery, one could forget to admire its level headed attitude toward sex. The glee it takes at exposing the absolute silliness of adults on the subject, as well as its constant stabs at the hypocrisy of the British middle class makes it stand out. Neither of those subjects are particularly unknown to British comedy, of course, but Personal Services never lets up, and skewers so many shoddy English values at the rate of swatting flies.

The film is a strong departure of style for Terry Jones, its director, whose former The Meaning of Life would lead us to imagine another style altogether. Certainly he is drawn to the material for its surrealistic and madcap flavor, but he surprisingly brings qualities of realism, detail and nitty-grit to the episodes that help keep the film grounded in a believable social milieu.

The script, by David Leland (Mona Lisa) is a fictional account that follows the rise of Cynthia Payne, the English madame who became the darling of the English press after several arrests in the middle 80's. Leland also wrote and directed a film released the same year (Wish You Were Here) which captures Payne in her teen-age years, but Personal Services is much tighter, rapid-fire and more ambitious.

The film veers between outrageous comic episodes and very real emotional moments that reflect the social realist scenes of earlier English films like A Taste of Honey and Room at the Top. The struggle of a woman deciding whether to take the plunge and become a prostitute; the scene where the heroine confronts her distant dad at her sister's wedding; the scenes that reflect the loneliness and isolation the heroine feels may not seem appropriate in a pull-out-all-the-stops laugh fest, but they help to deepen the themes of the film, and give it both depth and breath. One of the more melancholy themes that stays dominant in the film is the deep emotional price one must pay for being a non-conformist.

The vivid imagery Jones brought to the Monty Python films serves an equally symbolic purpose here. The image of a prostitute with angel's wings flapping pitifully about a moonlit garden as she tries to escape the policeman who tackles her is an image which welds perfectly the film's sacred and profane themes and is unforgettable. And there are so many daring, in your face scenes ––the discipline scenes in the brothel; the exposure of Dotty in the john; the marvelous gift the madame gives both her father and son–– and they keep the film more surprising and fresh than most sex comedies of the 90's.

Julie Waters gives one of her wittiest, shaded, and full performances but she is only one–– the many character actors in the film are perfect in tone and work together in extraordinary ways. The film serves as a reality check about one's own up-tight attitudes about sex. (Your own squirming should be a revelation! ) American viewers need to be very much on their toes, however, because some of the funniest dialogue is rapid (with authentic accents) and often thrown away. Also helpful is to realize the slang expression `willie' does NOT refer to a dolphin, but to a guy's you know what.

I am always running into people who discovered this film on their own, and hold it high on their list of the greatest comedies. I urge you to discover it for yourself!

Having watched this film I need to ask why, when nobody in that 'disorderly house' was at any point abused in any way against their will, was there any need for the raid by police and prosecution. The moral prudishness that seemed to justify this is not seen when unwilling victims are assaulted, such as at workplace initiation or in many cases by bro called birthday stripp o grams. Many of these leave victims devastated, but are barely seen as wrong. I think the Brita have a very twisted idea of what is right and wrong.

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.

It's good. Not so funny, but rather very sad at some points in my opinion. It's like a Pedro Almodovar movie, I felt similar vibes while watching it. Which is good, I love it. Objectively not very entertaining for everyone.

beautifully acted, unexpectedly moving, hilarious, and at times very, very dirty, this film is "inspired by" the life of cynthia payne, one of the most notorious madame's in britain's history - julie walters is brilliant as a woman who evolves from a waitress struggling to make her rent, to a successful businesswoman running a brothel that caters only to "kinky sorts" - through all of it, she raises a son, forces her father to come to terms with the person his daughter has become, and has difficulty with the "charles and diana" ideal of love that she can never find for herself - perhaps the greatest quality of this film, though, is its ability to shock at every turn - just when you thought you'd seen just how honestly funny kinky sex can be, think again...

As a fan of Monty Python, I've watched every movie directed by either Gilliam or Jones, and one day I will manage to watch every single movie featuring them, John Cleese, Eric Idle, and the other guys. "Personal Services" was a bit hard to find, and although I've ranked it slightly below average, the experience of watching it was actually quite a pleasant one.

Since it's based on a real story, I won't waste any time mentioning the plot in my review. The storyline is indeed engaging, and as for the dialog, I believe a decent effort was made by both the writers and the cast. Altogether, Jones' comedic genius is visible and works in many scenes throughout the movie.

However, this was one of the first - if not the first - directing enterprise for Jones after his work with Monty Python, during which he shared directing duties with Gilliam. It's interesting to notice how the director attempts to forge his own style, specially in this case where he was a part of a big ensemble of extremely funny people.

Jones managed to mature his style over his next films, to the point I'd say his last one, "Absolutely Anything", is perfect almost in every way. This movie is the beginning of that and, although it's not brilliant, it's entertaining and worth your time. In some instances it almost looks experimental, like something out of film school. But even when it looks like that, it still feels better than many movies with terrible plots or solid directing. Sometimes a funny person doing a sloppy job directing a good story is enough to make a movie watchable. At least I think it beats renowned directors showing off their Cinema credentials, with an uninteresting plot.

If not anything else, this movie helped me solidify this notion: there is probably nothing more important in Cinema than a good storyline.

This film has a preface that it is fiction, and though the writer David Leland was inspired by a book by Cynthia Payne - the infamous British Madam - this is not the story of Cynthia Payne. The disclaimer is repeated at the end, and then we see that the production consultant was Cynthia Payne. Perhaps there was a legal necessity for Madam Payne and the film-makers to provide this escape clause, since the film's madam, named Christine Painter, was charged with possessing obscene material for gain and running a brothel.

What makes this madam's brothel different is that Christine's clientele is gentlemen over 40 with a taste for kink, though the bondage and discipline we see is very mild. You would have to be extremely prudish to be offended by such behaviour. What makes these scenes so funny is how ordinary the customers are, which only reinforces the hypocrisy of the laws that consider prostitution a crime, and the insight the "tarts" have into men's sexuality. I loved the line "When the balls are full, the brain is empty", and the madam's argument that wives would never be wanting for anything as long as they kept their men "de-spunked".

As Christine, Julie Walters delivers a brilliant comic performance. She is a no-nonsense uppity woman, constantly in motion, who has never cared for sex but enters into the business for economic reasons. The ads posted in a shop window are deliberately double entendre-d eg large chest for sale, french polishing available. Walters looks surprising voluptuous here though as she becomes more successful she starts to resemble a drag queen. When she attends her sister's wedding, there is a confrontation scene with her father, and we see what a fool he is for not appreciating her.

Director Terry Jones came from the Monty Python group but it is to his credit that the humor is not juvenile or in poor taste. Walters does have an odd scene where she is suddenly in an exotic location and spying on a couple having sex, another where a revolving camera glorifies her romantic fantasies, and the circumstances of a missed "normal" date hint at that old chestnut that whores are doomed to die lonely. But overall the tone is light and positive. Special mention is made of Shirley Stelfox as the stern "Nanny", and Danny Schiller as the maid with an undetermined sex.

This is a rare misfire from Julie Walters. She performs her role as if it's a series of Victoria Wood sketches. In this context, it comes across a horribly over-acted and one dimensional. The script is a tedious plod through events and the comedy it's aiming at mainly misfires.

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.)

This film is a forgotten British Masterpiece, if only for its portrayal of something we still find difficult to come to terms with now in 2016. Everyone has a little inside them of what is shown here, awakening that, sometimes is beyond our own choices, but for us to begin to understand what makes people tick, this film really needs to be watched. There is a little nudity, but more important, there is good all round acting and a solid belief when you reach the end that your time has not been wasted. If you can indeed find a copy i fully recommend you open a bottle of wine, get out the popcorn, close the curtains, lock the door, put out the granny, and enjoy.

Loved this movie. Some of the scenes make you squirm. Some unpleasant surprises that are somehow funny. Can't help but like the characters - especially the military man who needs some mahogany polished.

Christine dreams of a better life for her and her son, a life of luxury, to fulfill her dream, she has an idea, a brothel for those of a more discerning nature.

I will never be able to hear the word 'Popazokaloo' in the same light ever again. They definitely coined an expression with that one.

This is without any shadow of a doubt one of my favourite films, it is fabulous from beginning to end. It's a bit naughty, but it's a terrific story, with so much going on.

If course it's the story of Cynthia Payne, even if there's a disclaimer at the start dismissing the notion, the story is very much told from her point of view, perfectly so.

Favourite scene had to be Dolly's revelation, when the mother of The Groom walked in, it's a side splitting moment.

The acting is sublime, when I'm asked who my favourite actress is, the answer is always easy, it's Julie Walters, films like this are the reason why, she is incredible, as are Shirley Stelfox and Danny Schiller, the wealth of talent is incredible, so many familiar faces are here.

10/10.

It's rare to find films depicting sexuality without sensationalist tendencies. Even when the film depicts kink, it isn't done in a manner to be shocking, but rather to gently poke fun with us the viewer at all of our weird little desires. The joke isn't the community of kinky and queer folk in the film-the joke is the shame and weirdness around perceived elements of class and prudish sentiment, despite the fact that we all experience desire.

Warning for trans folk, while the film is on the whole supportive of transgender people, there is a scene depicting a trans person being mistreated /yelled at as a "sexual deviant" which could be potentially triggering.

There's complex nuance to the pain of having a father that doesn't "see" you. Of being an other. There is so much gentle nuance and joy to this film that it's hard to even encapsulate. It's more than meets the eye.

I haven't seen a main character depicted with such spark and vibrance. Going to have to watch the rest of Julie Walters' films now!

Give this a watch if you're able to laugh at yourself.