Enrique Sanchez I saw this on TV in the 60s when Red's weekly show brought us such wonderful laughs and memories. For me, there was only one other TV funny man besides him (the great one-Jackie Gleason). So TV comedies made an impact on me and my sensibilities.But the one Skeleton MOVIE which I have always remembered was this movie and the remarkably fun-filled finale in the war surplus warehouse! I finally watched it again on TV again after soooo many years. And by golly, the memory of all of the gags all came back to me and I enjoyed it even more this time. I am sure that the endless gags and funny sequences were copied by scores of comedies.These are the types of movies, with their innocent fun and optimism which helped to form my personality and character for the rest of my life.Oh woe to the current generation who never had these movies in their consciousness. I consider myself extremely fortunate to be a product of these wholesome movies.Thank you, Red, wherever you are. You were very special to me, indeed.

Robert J. Maxwell Red Skelton finds a job as a door-to-door salesman while courting Janis Paige. The story turns into a murder mystery. That's about it.The script was by Frank Tashlin, who went on to direct a couple of very amusing comedies, including "Will Success Spoil Rock Hunter." It's not clear who the intended audience is in this instance.I remember seeing it as a kid and laughing throughout, as I did at most of Red Skelton's movie -- and Abbot and Costello, for that matter. But I saw things then as through a glass redly, or rosily, and now that I am a man I have put away that particular child-like faculty along with my unbroken collection of Action Comics.It strikes me now as more silly than funny. Red Skelton marches down the sidewalk to appropriately pompous music, steps on a child's skate, and falls down. (The editor holds on the scene for several seconds, allowing the laughs in the audience die down.) Danny Kaye's comedies of the same period have held up much better. So have some of Red Skelton's. "A Southern Yankee" is still good for laughs.Withal, there's an endearing innocence about the production. Nobody's sense of humor was designed to exceed the age of fourteen. The gags we've seen a hundred times on television sit comes may have been relatively fresh. Skelton has a mobile face and does mime well. And the slapstick chase through a war surplus warehouse at the end is exciting enough to entertain almost everyone.It would be nice to check this out on an eleven-year-old child and see if he or she laughs or whether an abundance of sit coms and cartoons have made their sensibilities harden and their demands more challenging.

ccthemovieman-1 Wow, this movie wore me out. It was almost non-stop slapstick action....actually too much; it could have used some lulls. Still, there were tons of funny moments.Red Skeleton, in the starring role, provides most of the laughs with some corny-but-great lines and wonderful slapstick sight gags. Red, himself, must have been exhausted making this film.My favorite parts were in the beginning when he gives door-to-door selling a chance. His mentor and nemesis "Keenan" (Don McGuire), sets him up with the worst houses on the block and poor Red takes a verbal and physical beating, even from a little kid! It's actually painful to see such a nice guy, such an Innocent human being, get treated so poorly by everyone. He can't catch a break, including making points with his wannabe girlfriend "Ann" (Janet Blair). The break comes, of course, at the end and after a lot of chaos when Red inadvertently becomes involved in a murder and has to clear his name. You know Red, somehow, is going to pull through a ton of messy situations, even though it looks bad for him at least a hundred times!This film, and "The Fuller Brush Girl" with Lucille Ball and Eddie Albert, have never been put on DVDs and that's a shame. It would make a nice double-feature disc.By the way, when was the last time anyone saw a Fuller Brush man at their doorstep?

robert-temple-1 Red Skelton was one of the most famous and best-loved comedians in America from the 1940s to 1971. Everybody was always talking about him and looking forward to his TV show every week. He was a national icon. He played a lovable simple fool, in the tradition of Harry Langdon and Stan Laurel. His remarkable comic abilities were never properly captured in his films because there were never enough closeups for us to see the details of his comedic effects. For instance, in this film there is one wonderful scene where he thrusts his lower jaw out more than one could think possible and impersonates someone who wanted to help his friend by 'being a spare ashtray'. The trouble is, we get to see this only in badly lit long shots! This film was the fourth time Skelton was directed by S. Sylan Simon, who made one more film and died tragically at the age of only 41. But Simon never did justice to Skelton's special qualities, and Skelton's producers also saw him as just a useful clown. In fact, with proper handling and loving attention by an inspired director, Skelton could have achieved high art, of which he was well capable, since he was a a truly great clown. In this film, his girl friend who is a perfect foil was the lively Janet Blair, just as American as apple pie and absolutely right for 1948. The script has some great gags in it. At one point, where Skelton is being used as 'allure practice' by a siren, she says to him: 'I usually have men eating out of my hand.' Skelton replies with childlike innocence: 'I've already had my lunch.' Maybe nobody remembers any more about Fuller brush salesmen, but they used to be everywhere. There were more of them than neighbourhood cats and dogs. Yes, they really existed, and 'get in the door' was their motto, just as in this film. The Fuller Brush Company really existed too, and maybe the producer got a big product placement bonus in his pocket, or his studio did. This film was so successful, it was followed by 'The Fuller Brush Woman', starring the wacky Lucille Ball. Certainly Fuller brushes were familiar to every American, in the way that Tupperware was. This film has a spectacular closing chase sequence with some truly amazing sight gags, a few of which rival Buster Keaton's, but they are filmed so badly that much of their impact is lost. Whoever designed them was brilliant. It is a very long and very astonishing sequence which anyone interested in such things really needs to see. I found myself wishing it could all be recreated and shot properly. What was lacking from Skelton's films was the care and imagination to match his innate genius. But if you like Skelton and want to see him in top form, watch this one. The fact that it could have been so much better is something you just have to put up with. It may be corny, but it is never dull.