6.3/10
370
16 user 5 critic

I Dood It (1943)

Approved | | Romance, Comedy, Musical | September 1943 (USA)
Constance Shaw is a dance star on Broadway, Joseph Rivington Reynolds is a keen fan of her. After she is fed up with her friend, she meets Joseph and marries him, because she thinks he is ... See full summary »

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Cast

Cast overview, first billed only:
...
...
...
Larry West
...
Suretta Brenton
...
Ed Jackson
...
Kenneth Cawlor
...
Hazel Scott ...
Hazel Scott
Jimmy Dorsey ...
Helen O'Connell ...
Helen O'Connell
Bob Eberly ...
Bob Eberly
...
Roy Hartwood
...
Annette
Marjorie Gateson ...
Mrs. Alice Spelvin
Andrew Tombes ...
Mr. Alfred Spelvin
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Storyline

Constance Shaw is a dance star on Broadway, Joseph Rivington Reynolds is a keen fan of her. After she is fed up with her friend, she meets Joseph and marries him, because she thinks he is the owner of a mine. But that's a missunderstanding, he works at a cleaning shop. After disturbing rehearsals he is thrown out of the theater, but when he sneaks in again, he discovers his boss talking about a bomb they want to set in the theater to blow up an ammunition store next door. Written by Stephan Eichenberg <eichenbe@fak-cbg.tu-muenchen.de>

Plot Summary | Plot Synopsis


Certificate:

Approved | See all certifications »
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Details

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Release Date:

September 1943 (USA)  »

Also Known As:

Mademoiselle ma femme  »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The last of the three films co-starring Red Skelton and Eleanor Powell. See more »

Connections

Edited from Born to Dance (1936) See more »

Soundtracks

Petunia
(uncredited)
Music by Sammy Fain
Excerpts played as part of the score
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User Reviews

an uncredited remake
4 October 2004 | by (Georgia) – See all my reviews

No one seems to point out that his film is a remake of an earlier film Buster Keaton made for MGM titled "Spite Marriage", with many of the visual gags pulled directly from that earlier film with almost no changes. So as well as Red Skelton did in this, an earlier genius had done it first. Many of the best sight gags were lifted note-for-note from Keaton. The two films differ greatly in their sub-plots, but the core premise is the same. If you liked this movie, you should seek out the earlier film; a lot of it is genuinely funny. Although not Keaton at his peak (he was hampered by the MGM-imposed studio system), any Keaton is worth seeing.


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