The big hits of the year - Doctor in Love (they don't need Dirk Bogarde!), Sink the Bismark (Kenneth More draws them in) and Carry On Constable.
All three films very "British". Two of them "franchises".
Other British money makers:
* Battle of the Sexes
* Brides of Dracula
* Conspiracy of Hearts
* Dentist in the Chair (what is that film?)
* Expresso Bongo
* Follow a Star
* A French Mistress
*Kidnapped
*The League of Gentlemen
*Light Up the Sky
*Make Mine Mink
*The Millionairess
*Our Man in Havana
*Please Turn Over
*Sands of the Desert
*The Savage Innocents
*School for Scoundrels
*Sons and Lovers
* A Touch of Larceny
*the Trials of Oscar Wilde
*Two Way Stretch
*Village of the Damned
*Watch Your Stern
So what can be learned?
The British public still liked a good war movie (Bismark, Conspiracy of Hearts) and loved a star vehicle for Peter Sellers (Battle of Sexes, Millionairess, Two Way Stretch), Terry Thomas (School for Scoundrels, Make Mine Mink), Norman Wisdom (Follow a Star) and the Carry On gang (Watch Your Stern). Alec Guiness still worked in a comedy (Havana). They liked random comedies with stars from other mediums (Dentist in the Chair with Bob Monkhouse, Please Turn Over with Ted Ray, Sands of the Desert with Charlie Drake, Boutling comedies (A French Mistress), heist comedies (League of Gentlemen), war comedies (Light Up the Sky). Expresso Bongo was a musical. Kidnapped a classic novel adaptation.
Horror was a new earner (Brides of Dracula, Village of the Damned). Some heavy drama got through eg Sons and Lovers, Trials of Oscar Wilde.
But 26 British films... over half were comedies.
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