I only recently learned that this film exists, being shown on a Turner Classics tribute to Red Skelton's Hollywood films. Sure could have used a better title((We might anticipate it being a story about Red as a vacuum cleaner salesman, to complement his role in "The Fuller Brushman"). This early '50s Technicolor film is primarily a romantic comedy, with the occasional song or dance routine thrown in, usually involving one of Red's on and off girlfriends. Red stars as a very unlikely pioneer of the horseless carriage, in the 1890s. The entrenched horse and carriage interests talk of repeating the absurd repealed English requirement that all such vehicles must be preceded by a pedestrian waving a red flag! Fortunately, this was not enforced. Of course, Red's internal combustion-powered dandy is as dependable as a very stubborn mule, often creating havoc for horsed carriages, pedestrians and shops. Nonetheless, he qualifies for a wacky cross country race between horseless carriages of various designs and means of propulsion, including steam and battery-powered vehicles. Of course, this turns into a keystone cops-like affair, requiring the help of one of Red's girlfriends(Sally Forrest), after he is accidentally knocked senseless by a competitor. Symbolically, the internal combustion engine barely bests the others in the end.
All in all, a delightful light experience, seldom becoming tedious, with comedy, song and dance nicely blended. The better known musical "Three Little Words", made about the same time and costarring Skelton with Fred Astaire and Vera Ellen, actually has many more dry scenes, with Skelton's comedic persona only occasionally surfacing, although some of the musical numbers and dance routines are more memorable than those in the present film.
All in all, a delightful light experience, seldom becoming tedious, with comedy, song and dance nicely blended. The better known musical "Three Little Words", made about the same time and costarring Skelton with Fred Astaire and Vera Ellen, actually has many more dry scenes, with Skelton's comedic persona only occasionally surfacing, although some of the musical numbers and dance routines are more memorable than those in the present film.