Sherlock do Ar

Although the slapstick is pretty heavy at times, especially toward the wild climactic scene that winds up the whole story, WHISTLING IN DIXIE has all the ingredients that made the Bob Hope films successful in the '40s, with Hope as the cowardly male lead being intimidated by gangster-type bullies.

Here it's RED SKELTON who seems to have inherited Hope's gag writers, because all of the jokes could just as well have been hand-me-downs from Hope during his heyday. Skelton plays "The Fox", a radio sleuth who solves impossible crimes, and is lured to Georgia by his girlfriend when one of her friends is in a dire situation requiring the kind of help "The Fox" can offer.

Lots of fun ensues when Skelton arrives at a spooky Georgian mansion, and some of the sight gags involving RAGS RAGLAND (in a twin role--one good, one bad), are quite funny although they tend to be overdone by the time the last reel is reached.

ANN RUTHERFORD has a flair for light comedy that makes her a good mate for Skelton and the rest of the cast goes along with the gags and pratfalls in a professional manner. DIANA LEWIS lays on the Southern accent a little too thick, but this is probably for comedy effect. GEORGE BANCROFT, GUY KIBBEE and PETER WHITNEY have fun with good supporting roles.

Summing up: Good fun, if you like these sort of slapstick murder mysteries.

This was the first time I've seen one of Red Skelton's "Whistling" movies. Seeing him always about to act crazy whenever someone mentions "murder" was good for some laughs as was some of his wisecracks and a few slapstick moments. Rags Ragsland was also good playing two roles as both a good and bad guy. Ann Rutherford made a nice foil for Red. After a while, some of the dialogue and action threatened to seem repetitious but by the climax, a few more laughs were earned. Anyway, overall, I was pretty entertained by Whistling in Dixie. P. S. The reason I watched this just now is because since I recently watched the Our Gang shorts in chronological order, I thought I'd also look at some of the films outside of the series that featured at least one member. This one had a scene with Billie "Buckwheat" Thomas talking to Rags.

Gosh. The first film in this series had some rather amazing construction. It was a show about a show that had an anti-show: a radio broadcaster who did fictional mysteries, did a real one by broadcasting backwards through the radio! Red was along to do some facial gags and they added some value.

Based on the success of that, we have this. A whole new crew was involved, including no one from the seven (!) original writers. Red and his lover find themselves in the deep south and involved with a Confederate treasure. The only reason for the construction was so that MGM could use its new water set. Was this the first movie that had a closed room filling with water? Broke pipe, you know, and the trapped folks pouring out when the door was opened?

It could be.

Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

A year before, Red Skelton made a remake to the dandy 1930s film "Whistling in the Dark". It was very popular and not surprisingly, he came back a year later in "Whistling in Dixie"--a sequel to a remake. While the continuity is great (as many of the same characters returned and the film logically follows the first one), there are a few stupid aspects of the sequel that make it less than endearing. For example, Rags Raglan returns...as the identical twin to the baddie sent to prison when the first film ended. That's great...but having the bad twin then return and everyone mixing them up was not only contrived but rather tiresome as well. Additionally, Red Skelton really mugged it up from time to time and was, at times, a tad annoying. Perhaps I'm being hard on the film, but I loved Skelton's later films--they were sweet and endearing. This one is a bit tired and only mildly interesting.

This early Red Skelton comedy is one of several in which he portrayed an actor who was a radio detective called the Fox who also got mixed up in real mysteries, is quite agreeable, at times very funny, and handsomely filmed. The supporting cast, including pretty Ann Rutherford, and the not so pretty George Bancroft and Guy Kibbee, is good and doesn't play in the usual fright film spoof manner. This one isn't really all that inferior to the kind of film Bob Hope, Danny Kaye or for that matter Abbott and Costello were making at around the same time, but Skelton's appeal hasn't worn the years well. Like most comedians he tended to play "innocent" characters, but in his case there was a country bumpkin aspect. Skelton is decidedly not a city guy even when he's playing one. He looks out of place walking down a busy New York street in a double-breasted suit and fedora. There's a child-like quality to him, with none of the knowingness of a Harpo or a Lou Costello, that makes him at times embarrassing to watch. He belongs to another time, when people woke up to roosters rather than alarm clocks, and the first thing they did after breakfast was milk the cow, not jog around the block five times. Modern day hipness has eradicated the country boy sensibility, or removed it from the mainstream; and to a large degree hipness has become almost dictatorial, and can be measured by the extent to which naivite of any sort has been obliterated in our culture. Skelton's films offer a fascinating glimpse of a bygone era, as we can clearly see that behavior that was regarded as quite normal sixty years ago would be considered bizarre by today's standards, and not at all funny.

Anyway, back to Red. One area in which Skelton excels: he believes in the heroic ideal. He may not be the ideal screen hero, but when he swings into action you believe him, or his sincerity anyway; and when he gets the girl you can see him beaming. When Skelton triumphs in these silly comedies it's like virtue triumphing, not because Skelton has so much more virtue than the average person, but because he believes in it. I'd like to see Adam Sandler try that one on for size some time.