Un loco al volante

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.

This film is better than some of Red's other movie efforts in that he has some better supporting actors in it. Wish Red had a chance to make more movies than he did in his career but shortly after this started his record run on television. That took away a lot of his time for making movies.

This film is quite short at less than 90 minutes but most of the best comedy films are short. They don't get stuck in long & possibly boring sequences & they don't do the same joke over & over again. This film fits that model quite well.

Red was a classic clown who is sorely missed in todays "over the top & down & dirty comedy era". He had a class that shows in films like this one & his old television programs. This film is still a very watchable example of that.

The Yellow Cab Man is another of Red Skelton's madcap big screen comedies where Red plays an eccentric inventor who is also accident prone. So accident prone is he that he can't get insurance no way, no how. So what does he become in lieu of a modest settlement and for signing a quitclaim given him by agent Gloria DeHaven, a cabdriver for the Yellow Cab company.

Because of his tendency for the unfortunate, Red's invented himself a version of plexiglass, a shatter proof glass he calls elastic glass. Can't break it short of a bullet being fired into it. But he hasn't copyrighted the formula. And some unscrupulous people led by bottom feeding shyster lawyer Edward Arnold and medicine show charlatan Walter Slezak will do anything to steal the formula.

Red's a true babe in the woods in this film, but it's amazing how schnooks like him get some really good looking women to fall for him like Gloria DeHaven. Arnold and Slezak look like they're having a great old time. Usually both of them when they play villains exude a quiet menace, but here they are both outrageously overacting and the audience joins in on the fun.

The Yellow Cab Man is a treat for Red Skelton's legion of fans.

I think that so many people only think of Red Skelton from TV and I think they forget that he did movies and in fact very funny movies. I scrounged around until I could find most of them on VHS but now I long for a good DVD set. The Yellow Cab Man has got to be my favorite, I laugh so hard at parts of it that I have to actually pause the film so that I can catch my breath. I usually don't care that much for physical comedy but he and Danny Kaye seem to be the masters of the art and their movies have me rolling on the floor every time. The plot in here is really not that great but it is just what is done with a simple idea -A nice guy that is totally accident prone trying to be a cab driver and show his new invention. Just wind Red up and let him loose.

And The Yellow Cab Man is a good example. Fitfully funny comedy has Skelton playing his usual bumbler, this time an inventor and cab driver. Most of the funny bits here belong to Skelton, but Walter Slezak has a few nice bits too. Storyline has Skelton inventing bendable glass and a crew of crooks after him for the formula. Edward Arnold is the ringleader. Gloria DeHaven is a blah leading lady here. James Gleason, Paul Harvey, Polly Moran, Herbert Anderson (billed here as Guy and later on TV as Gus), Jay C. Flippen, Charles Lane, Jody Gilbert, Dewey Robinson, and Tiny Jones co-star. The IMDb lists Mae Clarke, but I never spotted her. Arnold is his blustery self, and Slezak was always a terrific comic villain. The finale is memorable, coming out just before Hitchcock's "Strangers on a Train," but with similar use of a carousel (in this case a rotating house). Skelton did better on TV, but his film career of 20 years or so (not counting cameos) was not inconsiderable. Skelton worked mostly for MGM, certainly not a studio known for its comedies. He might have fared better at a "lesser" studio. The film is notable also for its plethora of ugly DeSoto taxi cabs!