Brustbild bitte!

There are probably very few people today who realize what a big star movie star Red Skelton was in his day. In the late '40s and early '50s he churned out a string of very popular comedies. He was probably as big as Bob Hope, who is much better remembered today, probably because of later TV appearences, including all those USO specials. (I've always thought that Skelton's and Hope's movie personas were very similar. At least the young Hope. They were hapless but well-meaning boobs who always somehow managed to get the pretty girl).

No point going into the plot, because the plots in Skelton's movies don't matter much. They're just something on which to hang the gags and comic routines. There's some very inventive physical comedy in this movie, culminating in the extended, wacky final car chase. There's the added attraction of two lovely actresses, Arlene Dahl and Ann Miller, as fetching eye candy. Arlene falling for Red may seem somehow inexplicable, but like I said, Red always gets the girl. Ann Miller is young, perky, and funny. (though no tap dancing).

I don't think that Red Skelton ever cared about being perceived a comic genius. (Even Hope showed more ambition and ego). He just wanted to make people laugh, and generally succeeded. This isn't one of his best efforts, but it still made me smile.

Only Red's many fans will enjoy "Watch the Birdie," one of Red Skelton's weaker movie comedies. "The Yellow Cab Man," released the same year (1950) is much better. To see classic Skelton, check out "A Southern Yankee," his most critically acclaimed feature, containing the famous scene of Red carrying a flag with bars and stars on one side and stars and stripes on the other so neither the Yankees or the Rebels will fire at him. Any of the "Whistling" pictures Red made during World War II are worth a look, in particular "Whistling in Brooklyn." All three have the added attraction of featuring one of the funniest men in the movies, Rags Ragland, who left us much too soon.

"Watch the Birdie" does contain some funny routines and several humorous situations, such as the wild chase at the end with Red and Arlene Dahl atop one of the craziest contraptions imaginable--a huge lumber lift vehicle. But much of the comedy is forced and some of it falls flat, especially the scene at the doctor's that takes place in a crowded dressing room. There are some hilarious lines delivered by Red with his usual skill, yet many are shopworn and stale.

Though Red was a master of mimicry and impersonation, his portrayal of his own father and grandfather fails to gel with the story being told. The father character is just not funny. The grandfather ploy works much better, being presented as an octogenarian playboy with a young thing wrapped around him.

Believe it or not, the funniest part of the movie is the opening credits. Red reads the names, making clever comments, such as: "These two girls fought over me. Ann Miller wanted me to marry Arlene Dahl and Arlene Dahl wanted me to marry Ann Miller." "We had four writers on this picture. Three could write. The other one was my wife's brother."

The story has Red an unsuccessful operator of a camera shop owned by his father. While trying to make money to pay his bills and save his business by doing freelance filming on a boat, he is accidentally knocked overboard by heiress Lucia Corlane (Arlene Dahl). In attempting to make amends, she and Red fall for each other. Miss Corlane is determined to save Red's little shop providing him enough business to pay his debts. In the process, Red uncovers a plot by Miss Corlane's business manager, Grantland D. Farns (Leon Ames), and his unscrupulous accomplices to steal Corlane's money through manipulating a housing project of hers that is under construction. To aid Red, Corlane assigns him the task of taking pictures to promote the housing venture. Red unknowingly shoots film that contains incriminating evidence against Farns. Farns and his partners in crime are determined to snatch the film before it reaches the district attorney's office.

Though not one of his best films, "Watch the Birdie" has enough humor and slapstick to keep fans entertained. It is always a delight to watch a truly funny man on the big screen. Red was adept at both physical and oral humor. If Red can't make you laugh, it's doubtful that anybody can.

Red Skelton takes a leaf out of Alec Guinness and Peter Sellers' book and plays three generations in Watch The Birdie. Red plays the grandfather, father, and son who own a camera shop.

During the course of the film Red comes to the attention of the beautiful Arlene Dahl who has inherited a construction company from her father. The last project her father was on is a site that rival construction company owner Leon Ames wants very badly and is not above chicanery to get it.

The other woman in Red's life is Ann Miller who while she doesn't dance a step uses that figure to full advantage. Jane Russell had nothing on Miller for being a full figure gal. Miller is a beauty contest winner and her character is drawn from the one who chased Jules Munshin in On The Town.

There's a very funny sequence with Red and Dick Wessel as the two try to change clothes in a small dressing room with Skelton having a cold and sneezing all over the place. The climax chase scene with the bad guys chasing Skelton and Dahl is also well staged.

Fans of Red Skelton will like Watch The Birdie.

WATCH THE BIRDIE is certainly one of Red Skelton's lesser efforts. Storyline has good potential, but something went wrong. Looks like scenes were maybe filmed but cut as the movie jumps around with not much logic. Due to the short run time I'm sure much was left on the cutting room floor. No explanation as to how the Arlene Dahl character knows Red's name and where he works. A lot of other missing information. The worse part is the clips of two old MGM films. Just stops the movie dead. However, if it weren't for that scene the movie would have been barely an hour long. Only for Skelton fans, or not even. Arlene Dahl is a real beauty and Ann Miller is her usual perky self. Not much else is worthwhile.

---and see him in three roles in this B / W comedy of his. His first is the lead role of Rusty a bumbling photographer who is trying to save the family business; his father a rather old fashioned and quiet guy that might be Rusty one day if not for his Grandfather (the third role), a playboy a heart, who shows Rusty how to handle a woman properly. The special shots of the three of them and even two of the same characters are great and there is no blurring screen or noticeable break in the film.

This film may be only for Skelton fans, of which I am not really one, but I did found a lot of the routines here funny (especially a scene in a Dr.'s change room) and did laugh out loud at some of Skelton's delivery and timing. The girls are great - Arlene Dahl and Ann Miller. They have their share of gags, though Miller is quite far the funniest of the pair. Some tributes to old movies are obvious, especially in the final chase scene. The only scene people might find objectionable today is where Grandpa tells Rusty how to handle and keep a woman by showing him old Clark Gable and Robert Taylor movies.

This is great preservation of a moment in cinema history.