You won't be disappointed!

Slow pace in the most part of the movie.

Great Film overall

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Red Skelton is a cab driver who is accident prone. He has a girl friend of sorts, Gloria DeHaven, and some buddies at the Yellow Cab Company in Los Angeles, including James Gleason. A cabal of bad guys -- Edward Arnold, Walter Slezak, and assorted hoods with names like "Gimpy" -- find out that Skelton has invented an invaluable substance, elastic glass, for use in automobile windows. The villains first con Red, then drug him, then chase him through a vast display of "modern homes" and appliances.I laughed all the way through this when I was a kid, cheering and clapping along with the others. It strikes me as silly at times, now that I'm older and have much more sophisticated tastes. (Now I find Lady Gaga funny.) However, there's no argument about it's being a successful farce. The climax has a whirling carousel of a modern house going berserk -- before "Strangers on a Train" -- throwing bad guys this way and that. Slezak plays an evil doctor who tries to hide his hypodermic syringe full of truth serum in a toaster. The toaster tips over and ejects its contents point first, hitting Slezak in the buns. If you don't find that amusing, you should not watch this.Red is his usual gibbering self. DeHaven is pouty and pretty. We don't usually associate Edward Arnold with comedy and, in fact, he plays his familiar evil self here, only slightly over the top, gruff, blustering, phonily affable. Slezak is quite good. He was in a number of comic roles and was almost always effective in them.

It's often been said that MGM didn't "get" comedy. And with the scripts they would hand Red, again and again they proved that to be true. They could put really funny things in their forte -- musicals. But it was rare they really understood what makes a great comedy.For a change, here they got it right. I've always thought this to be the best of the Red Skelton comedy films, and my sister would have agreed when she was about 7 years old and we watched this on television. She was in absolute hysterics!But there's more to this film than slapstick (although that's what my sister remembers). Red always had the ability to play pathos, and he does here as the accident-prone inventor of unbreakable glass, which he tries to sell to the Yellow Cab Company, hoping that they will make unbreakable windshields. Of course, with Red being accident prone, his demonstration of his invention is a disaster. It's one mishap after another. But the bad guys are always at hand trying to take advantage. There's Edward Arnold (once a leading man himself), here reduced to a con-man shyster lawyer (but he's so good at it!). Then there's his accomplice -- Walter Slezak, as a crocked psychiatrist...and he leads Red into a fantasy sequence that's genuinely clever, original, and very funny. And then there's the hilarious finale at the Home Show. But what also works in this film is Red's sympathetic performance, silly little bits, and his romantic interest with Gloria DeHaven, who does quite nicely here. And then there's character actors James Gleason and Jay C. Flippen. Yes, MGM got it right this time, and gave Red one of his best roles. One for the DVD shelf! If you only buy one Red Skelton movie on DVD...this is the one!

Some belly laughs in this Skelton madcap. As usual Red plays a good-hearted schlemiel who stumbles from one mishap to the next, but somehow muddles through to win the girl (Gloria DeHaven) and the climax. Here he's an amateur inventor and Yellow Cab man battling veteran baddies Walter Slezak and Edward Arnold.A great job by the writers. The comedy set-ups are consistently funny and inventive from the mine-field opening of Red walking down the street to the whirlwind close at the L A Home Show . (Forget the muddled story-line which is just a handy post to hang the hi-jinks on.) This was just the kind of slapstick that Skelton could turn into a wild and crazy romp, and he does. .Catch the great comedic architecture in the early sequence that builds hilariously from the baby-sitting beginning to the nine-one-one close. Too bad this kind of engineering has largely disappeared from today's movie screen. Then too, the crib scene with Red playing both his toddler self and infant sister amounts to 60 second knee-slapper.In fact, there are a number of special effects scenes that work up more than a few chuckles. But the North Pole dream has something of a nightmarish undercurrent as does Red's getting shoved into the mixer.I guess my only complaints are the cheapness of the street sets and the dull-grayish quality of the filming (at least, in my copy). Coming from big-budget MGM, such cost-cutters affecting overall quality seem surprising.Nonetheless, this is a fine little post-war flick whose futuristic house at the Home Show expresses something of the surging spirit of a 1950's America then on the economic upswing.

Skelton was never as popular as the other leading comics of his day including Hope, Crooner/Comic Crosby, Danny Kaye, Abbott and Costello for a while and many others but his movies made money as this one did too. The concept of this movie is not original but congenial and in an era of remakes would a nice, tidy vehicle for a Ben Stiller type. Watching Skelton convincingly bungle and bumble his way through scene after scene is a complete hoot. The jokes come naturally and to me, he is better at delivering these jokes than Bob Hope ever was. The mad cap finale is generally fun in this warm two hander with Gloria de haven. And direction is generally snappy and on point as our cab driver causes obvious hijinks in this on the nose but funny tale.