At the heart of Carry On Matron is a new dynamic. Sid’s criminal mastermind is a much darker character than he’s played in the past. He’s not in it for a bit of fun and a flash of skin. In fact, the closest Sid and his goons get to the opposite sex is a bit of light cross-dressing but even that is driven by criminal intent. Sex, or rather having it, is the furthest thing from Sid’s mind.
The team at Finisham, on the other hand, are carrying on like they always have. Dr Prodd terrorises the young nurses, Cyril’s busy trying to keep his stockings up, Matron and Dr Goode share an altogether stranger passion and Sir Bernard’s convinced he’s turning into a woman. That’s all traditional, farcical, wonderful Carry On fare but thrown into that familiar world is a much darker plot. It’s a brilliant way of mixing things up. The hospital scenario is both the film’s foundation and its undoing.
Despite these shortcomings, Carry On Matron is a lovely, funny film. Part-heist, part-hospital comedy and all Carry On, it manages to take an old idea and inject new humour, tension and lovability into a series which, so far, shows no evidence of running out of steam.