Audiences always roared with delight when Red Skelton went one-on-one with post-war life in The Yellow Cab Man, The Fuller Brush Man and other films. In Half a Hero, the legendary comic ... See full summary »
Acrobat Eddie Marsh is in the army now. His first act is to become friendly with Kathryn Jones, the colonel's pretty daughter. Their romance hits a few snags, including disapproval from her... See full summary »
Al Marsh, Tony Naylor and Jerry Ralby, Broadway producers, are desperately looking for backers. Al is one of the heirs of a dress salon in Paris, but this is almost bankrupt. The two other ... See full summary »
Pirdy is accident prone. He has been denied insurance from every company in town because he is always getting hit or hurt in some way. On the day that he meets the lovely Ellen of the ... See full summary »
Ellen Hallit is in love with her playboy boss, Douglas Morrison, but is too timid to do anything about it. To help her, her roommate Chris decides to step in, and devises a plan. Chris ... See full summary »
Parting company with her on-stage partner Professor Orco partly due to the job being potentially hazardous to her health, streetwise but kind-hearted vaudeville performer Maisie Ravier, in ... See full summary »
Radio sleuth Wally "the Fox" Benton travels to Georgia with his fiance Carol to be married, and to help Carol's college chum Ellie Mae solve a mystery involving a murdered man, old Fort Dixon and buried treasure. Written by
Ron Kerrigan <firstname.lastname@example.org>
This early Red Skelton comedy is one of several in which he portrayed an actor who was a radio detective called the Fox who also got mixed up in real mysteries, is quite agreeable, at times very funny, and handsomely filmed. The supporting cast, including pretty Ann Rutherford, and the not so pretty George Bancroft and Guy Kibbee, is good and doesn't play in the usual fright film spoof manner. This one isn't really all that inferior to the kind of film Bob Hope, Danny Kaye or for that matter Abbott and Costello were making at around the same time, but Skelton's appeal hasn't worn the years well. Like most comedians he tended to play "innocent" characters, but in his case there was a country bumpkin aspect. Skelton is decidedly not a city guy even when he's playing one. He looks out of place walking down a busy New York street in a double-breasted suit and fedora. There's a child-like quality to him, with none of the knowingness of a Harpo or a Lou Costello, that makes him at times embarrassing to watch. He belongs to another time, when people woke up to roosters rather than alarm clocks, and the first thing they did after breakfast was milk the cow, not jog around the block five times. Modern day hipness has eradicated the country boy sensibility, or removed it from the mainstream; and to a large degree hipness has become almost dictatorial, and can be measured by the extent to which naivite of any sort has been obliterated in our culture. Skelton's films offer a fascinating glimpse of a bygone era, as we can clearly see that behavior that was regarded as quite normal sixty years ago would be considered bizarre by today's standards, and not at all funny.
Anyway, back to Red. One area in which Skelton excels: he believes in the heroic ideal. He may not be the ideal screen hero, but when he swings into action you believe him, or his sincerity anyway; and when he gets the girl you can see him beaming. When Skelton triumphs in these silly comedies it's like virtue triumphing, not because Skelton has so much more virtue than the average person, but because he believes in it. I'd like to see Adam Sandler try that one on for size some time.
10 of 17 people found this review helpful.
Was this review helpful to you?