Red Skelton (Wally Benton), Ann Rutherford (Carol Lambert), Rags Ragland (Chester), Ray Collins (Kendall), Jean Rogers (Jean Pringle), Henry O'Neill (Inspector Holcomb), Sam Levene (Creeper), William Frawley (Detective Ramsey), Steven Geray (Whitey), Howard Freeman (Steve Conlan), Arthur Space (Detective MacKenzie), Robert Emmett O'Connor (Detective Leo Finnigan), Tom Dillon (Beavers manager), Emmett Vogan (radio producer), John Wald (radio announcer), Morris Ankrum (news editor), Edgar Dearing (desk sergeant), Grant Withers, Jack Mulhall, Bert Moorhouse, Charles Jordan, Jack Carrington, Sammy Blum (reporters), James Warren (sound man), Robert Winkler, Rudy Wissler, Buddy Gorman, Larry Harris (newsboys), Harry Strang (Gumbatz), Harry Tyler (gateman), Frank J. Scannell (Joe), Fred Toones (fan), Ray Teal (traded Beaver), Anthony Caruso, Charles Sullivan, Elliott Sullivan, Dutch Hendrian (henchmen), Dewey Robinson (Beavers trainer), Gil Perkins, William Haade (police sergeants), Lee Phelps (police dispatcher), Harvey Parry (worman), Garry Owen (taxi-driver with record), Mike Mazurki (helpful thug), Howard M. Mitchell (officer), George Magrill (Brooklyn fan), Mitchell Lewis (bearded spectator), Donald Kerr (taxi-driver), Sheldon Jett (suspicious man), Sam Hayes (baseball announcer), Billy Engle (balloon vendor), Eddie Dunn (coffee cop), Charles Dorety (drunk), Clancy Cooper (Officer Slocum), Billy Bletcher (announcer), Chet Brandenburg (painter), William Bishop (psychiatrist), Leo Durocher (himself), Loretta Rush, Lillian Yarbo, Dorothy Wilson, Sue Moore (women), and The Brooklyn Dodgers
Director: S. SYLVAN SIMON. Screenplay: Nat Perrin. Additional dialogue: Wilkie C. Mahoney. Photography: Lester White. Film editor: Ben Lewis. Art directors: Cedric Gibbons and Jack Martin Smith. Set decorators: Edwin B. Willis and Mildred Griffiths. Stunts: Gil Perkins. Costumes designed by Irene. Special effects: Warren Newcombe. Music: George Bassman. Assistant director: Al Raboch. Sound recording: John Dullam. Producer: George Haight.
Copyright 24 September 1943 by Loew's, Inc. A Metro-Goldwyn-Mayer Picture. New York opening at Loew's State: 23 March 1944. U.S. release: December 1943. Australian release: 13 September 1945 (sic). 9 reels. 7,825 feet. 87 minutes.
SYNOPSIS: Mistakenly identified as a serial killer, a radio sleuth (accompanied by his fiancée, his self-appointed press agent, and a nosy girl reporter) is pursued by both the police and the real criminals.
NOTES: Third and final entry in Red Skelton's Whistling series.
COMMENT: Although it's the weakest of the Whistling movies, there's a high-flying sequence in this entry that I'll never forget. Red and his comrades are hanging from a grid at the top of an elevator shaft. They hang from each other's legs and then swing this human pendulum in an effort to land themselves on the floor below. Great stunt-work, very effectively handled!
Unfortunately, the rest of the film doesn't reach this standard, though it has its moments of fun and suspense. The huge cast line-up helps.
The chief fault is Wilkie Mahoney's inane additional dialogue which lacks the sparkle and wit he brought to Whistling in Dixie.
The players do what they can with the talky screenplay and director Simon piles on the pace, but their efforts are often unsuccessful.
Director: S. SYLVAN SIMON. Screenplay: Nat Perrin. Additional dialogue: Wilkie C. Mahoney. Photography: Lester White. Film editor: Ben Lewis. Art directors: Cedric Gibbons and Jack Martin Smith. Set decorators: Edwin B. Willis and Mildred Griffiths. Stunts: Gil Perkins. Costumes designed by Irene. Special effects: Warren Newcombe. Music: George Bassman. Assistant director: Al Raboch. Sound recording: John Dullam. Producer: George Haight.
Copyright 24 September 1943 by Loew's, Inc. A Metro-Goldwyn-Mayer Picture. New York opening at Loew's State: 23 March 1944. U.S. release: December 1943. Australian release: 13 September 1945 (sic). 9 reels. 7,825 feet. 87 minutes.
SYNOPSIS: Mistakenly identified as a serial killer, a radio sleuth (accompanied by his fiancée, his self-appointed press agent, and a nosy girl reporter) is pursued by both the police and the real criminals.
NOTES: Third and final entry in Red Skelton's Whistling series.
COMMENT: Although it's the weakest of the Whistling movies, there's a high-flying sequence in this entry that I'll never forget. Red and his comrades are hanging from a grid at the top of an elevator shaft. They hang from each other's legs and then swing this human pendulum in an effort to land themselves on the floor below. Great stunt-work, very effectively handled!
Unfortunately, the rest of the film doesn't reach this standard, though it has its moments of fun and suspense. The huge cast line-up helps.
The chief fault is Wilkie Mahoney's inane additional dialogue which lacks the sparkle and wit he brought to Whistling in Dixie.
The players do what they can with the talky screenplay and director Simon piles on the pace, but their efforts are often unsuccessful.