Karry Best movie of this year hands down!

Alicia I love this movie so much

UnowPriceless hyped garbage

Matialth Good concept, poorly executed.

Man99204 Considering the talent associated with this project, it should have been a much better movie. This is more a series of scenes than a cohesive movie.There are several scenes featuring black performers like Lena Horn, and Hazel Scott. While their performances are amazing - they have absolutely nothing to do with the rest of the movie. IT is as if the movie is interrupted by a music video.Both Red Skelton and Eleanor Powell had very unique and distinctive talents - this script makes little use of their abilities. This is basically a "B Picture' which any one of a dozen different MGM Stars could have done. There are a couple of scenes where Skelton mugs for the camera. There are a couple of scenes where Powell dances - but these are add ons not related to the rest of the movie. The final film is a series of independent scenes with far too little plot to propel the action.This is still worth seeing - especially for the performance of Hazel Scott and Lena Horn. But do not expect this to be like other "Classic MGM Musicals of the period". And, do not expect the plot to make any logical or rational sense.

Neil Doyle You have to be a die-hard RED SKELTON fan to approve of his slapstick performance in I DOOD IT, but some of his routines just fall flat. He and ELEANOR POWELL have to deal with a less than spectacular script in which he's mistaken for a wealthy man when he's actually a pants presser. The gags that follow are weak, for the most part, but occasionally some bright bits of humor do crop up along the way.For comic timing, nothing beats the scene where Powell takes the sleep medicine by mistake and Skelton is unable to wake her up to either put her in a chair or on a bed. Her limber body provides a lot of chuckles as he struggles to get her off the floor. The timing by both is impeccable and it's one of the film's best routines.Too bad her dance numbers aren't staged as well as that sequence which runs a little too long. They're serviceable, but that's about all.Jimmy Dorsey and his orchestra play some nice tunes, best of which is "Star Eyes" sung by Bob Eberly and Helen O'Connell. An "audition" scene featuring Hazel Scott at the piano and Lena Horne as vocalist on "Jericho" is a lively routine that gives the film a much needed musical highlight.But for both Skelton and Powell, this is one of their lesser efforts. Sam Levene, Thurston Hall, John Hodiak and Richard Ainley offer good support.

calvinnme This movie has lots to enjoy - great wartime entertainment by some of the big names in music at that time, good if recycled comedy, and great dancing by Eleanor Powell. However, its main problem is all of what I just mentioned. It can never seem to figure out if it is a romantic comedy, a musical, or a movie about wartime sabotage, but it does grow on you.The comedy is mainly recycled from Buster Keaton's last silent film, "Spite Marriage", and in fact Buster was a gag writer on this film and most of Red's other movies for MGM. Here Red Skelton plays Joe Reynolds, reprising Buster's part as a worker in a laundry enamored with stage actress Constance Shaw (Eleanor Powell). He manages to show up at the same places Shaw shows up at by borrowing his customers' formal attire. Just like in the original, the leading lady is jealous of her leading man because he is romancing someone else - a potential backer for a show. Shaw marries Joe without knowing or caring what he does for a living, and there is the repeat of the "putting the unconscious bride to bed" scene that there was in Spite Marriage. When the day after the wedding she learns he does not in fact own gold mines but is a "pants presser" the newlyweds separate, at least for awhile. The situation in which Joe plays the hero here has to do with a plan to blow up a munitions storehouse next door to the theater where Constance Shaw is working. "Spite Marriage" had seafaring bootlegging gangsters as villains, which, of course, would have made no sense in 1943.There are some great numbers by Powell if you are a fan of her dancing - I am. The disappointing part is that a couple of the numbers are lifted from other films. The finale is lifted from 1936's "Born To Dance" and there is another number that was shot for the film "Honolulu". Part of the reason for this is that the lasso number towards the beginning of the film was so difficult that Miss Powell knocked herself unconscious while performing it, and thus other numbers were substituted for the originals planned.Finally there are some great musical numbers by the Dorseys and "Jericho" performed by Lena Horne.

heathentart If you adore Red Skelton... If you adore Eleanor Powell... If you adore Swing music and ballads... If you enjoy just kicking back and letting the experience take hold...,This is a terrific movie to enjoy with a bowl of popcorn. It's especially good when it's on TCM because there are no nasty cuts or commercials.It's fluff, make no mistake. No Tarantino gore, no Stone conspiracies, no angst... just pure fun watching some of the best talent Hollywood ever had.Lena Horne, Hazel Scott, Jimmy Dorsey, Bob Eberly, Helen O'Connell for the music. Eleanor Powell's magnificent dancing, Red Skelton's brilliant slapstick and his heart-felt sweetness. Then there's the rest of the cast - Thurston Hall, Sam Levene, John Hodiak, and Richard Ainley as Larry West, for whom this would be his last picture.The plot has its nuttier moments, none of it meant to be taken seriously. It has plenty of eye-appeal in the costumes (magnificent gowns) created by Irene Sharaff, inarguably one of the greats in the history of design. There are jewels to glitter and shine and, if they were fakes, they were great fakes.The plot gives Red Skelton plenty of opportunity to do what he did best. Just check out the "beard" scene - you'll know what I mean.OK, so it ain't "Gone With The Wind," or "Of Human Bondage," but it's not supposed to be, even with the Civil War play going on.One of the funniest parts for me was the sound effects guy doing the "hoofbeats" with the coconut shells, even though YOU know that the sound was being made by a Foley guy in post production. But it's a sound made within a picture by someone outside a picture... ahhh, now I'm confusing myself, and probably you, poor reader.Leave your troubles behind. Tune out the kids, the phone, the interruptions, the beds can be made later. Have fun!