David Cronenberg wishes he had anything as scary as Renee Houston in his films. Music hall comedy act (no easy job for a woman, but the audience probably dared not heckle) Renee started in pictures early clocking on for the first time in 1927. By the time she hit Lady Godiva Rides Again and The Belles of St Trinians in the 50s, she was cooking with gas. The Horse’s Mouth and Twice Round the Daffodils neatly segued into toppermost Carry On Cabby and Spying mean it’s a mystery why she’s not better remembered.
FINEST HOUR: As Kenneth Cope’s monstrous mother in aces Carry On At Your Convenience, “Cut for deal?”