Red Skelton was a force of nature. If you haven't seen the i dood it movie 1943, you're missing out on a very specific, very strange slice of MGM history. It’s a musical comedy. It’s a remake. It’s a vehicle for a guy who could make a face and bring down the house.
Honestly, the title alone is a trip. "I dood it" was Skelton’s catchphrase from his radio show, specifically from his "Mean Widdle Kid" character. MGM, being the powerhouse it was, decided to slap that popular phrase onto a movie that, frankly, didn't have much to do with the character.
You've got Red Skelton playing Joseph Rivington Renlo. He's a lowly dry cleaner. He’s obsessed with a Broadway star named Constanza Shaw, played by the elegant Eleanor Powell. It sounds like a standard rom-com setup, but the execution is pure 1940s chaos.
The Buster Keaton Connection You Probably Didn't Know
Here is the thing about the i dood it movie 1943 that most casual fans miss: it’s basically a shot-for-shot remake of Buster Keaton’s silent masterpiece Spite Marriage.
Keaton was actually working at MGM as a gag writer at the time. He was earning a fraction of his former salary. It’s a bit heartbreaking, really. He was tasked with taking his old material and fitting it onto Skelton. You can see his fingerprints everywhere, especially in the famous "putting the drunk bride to bed" scene. Skelton is funny, sure, but he doesn't have that mechanical, deadpan precision that Keaton had.
Skelton is loud. He’s rubber-faced. Keaton was a statue in motion.
The contrast is wild. In one scene, Skelton is trying to manage a limp, unconscious Powell, and while it's a classic bit of physical comedy, it feels different when there’s sound and big-band music involved. It’s less about the geometry of the gag and more about Red's frantic energy.
Why Eleanor Powell Deserved Better
Eleanor Powell was arguably the greatest female tap dancer in film history. Period. No contest.
In the i dood it movie 1943, she is incredible, but she feels like she's in a different movie. One minute you’re watching a wacky comedy about a dry cleaner who steals a suit to impress a girl, and the next, Powell is performing a high-octane lariat dance that defies the laws of physics.
She spins. She jumps. She does things with her feet that shouldn't be possible.
💡 You might also like: Doomsday Castle TV Show: Why Brent Sr. and His Kids Actually Built That Fortress
But the plot treats her as a bit of a secondary prize. She marries Red’s character out of spite—hence the original Keaton title—because she’s mad at her leading man. It’s a flimsy excuse for a plot, but in 1943, audiences weren't looking for Citizen Kane. They wanted escapism. They wanted to laugh at Red and marvel at Eleanor.
The Soundtrack and the Shadow of War
You can't talk about this film without mentioning Jimmy Dorsey and his Orchestra.
1943 was a heavy year. The world was at war. Movies like this served as a vital pressure valve for the public. The musical numbers are massive. You have Helen O'Connell and Bob Eberly performing, and "Star Eyes" became a legitimate hit.
There is a specific energy to wartime musicals. They are bright, almost aggressively so.
I Dood It also features a performance by Hazel Scott, a prodigy who played two pianos at once. Her inclusion is significant. She was a Black artist who refused to play roles that were demeaning, which was a massive stance to take in the 40s. Her "Jericho" number is a highlight of the film, though, in typical MGM fashion of the era, it’s a standalone sequence that could be easily edited out for screenings in the segregated South. It’s a frustrating reminder of the industry's history, even amidst the talent on display.
The Plot is Sorta Secondary
Let's be real. Nobody watches the i dood it movie 1943 for the tight script.
Joseph (Red) works at a valet shop. He’s "borrowing" a tuxedo from a customer to attend the theater every night. He meets Constanza. Through a series of misunderstandings and her own desire to make her boyfriend jealous, they get hitched.
Then things get weird.
There’s a subplot involving a saboteur and a bomb. Yes, a bomb. In a musical comedy.
📖 Related: Don’t Forget Me Little Bessie: Why James Lee Burke’s New Novel Still Matters
Red finds himself backstage at the theater, trying to stop a villain while simultaneously being pushed onto the stage to perform in a play he doesn't know. It’s the ultimate "naked at school" nightmare turned into a comedic set piece. He’s dressed as a bearded frontiersman, tripping over props and ruining the dramatic tension of the play-within-a-movie.
It’s frantic. It’s loud. It’s classic Skelton.
Behind the Scenes at MGM
Vincente Minnelli directed this.
That’s a name that carries weight. He’s the man behind Meet Me in St. Louis and An American in Paris. But I Dood It was only his second feature film. You can see him experimenting with style, but he’s clearly reined in by the fact that he's essentially remaking a Keaton film and serving a comedic star with a very specific brand.
He didn't love the project. He reportedly felt it was a bit of a step backward after his work on Cabin in the Sky.
Still, the production values are high. It’s MGM, after all. Everything looks expensive. The costumes are lush. The lighting is crisp. Even a "lesser" Minnelli film looks better than most studios' top-tier productions.
What Modern Viewers Get Wrong
People often dismiss these mid-tier 40s comedies as "dated."
That’s a mistake. If you look closely at the i dood it movie 1943, you see the DNA of modern physical comedy. Every time you see a comedian struggle with a mundane object—a folding chair, a heavy door, a sleeping partner—they are drawing from the well that Keaton dug and Skelton helped keep full.
Also, the "meta" nature of the film is interesting. Red Skelton is playing a character who is obsessed with fame, while being one of the most famous men in America at the time. He’s using his radio catchphrase to sell a movie ticket. It’s the 1943 version of an influencer starring in a film because they have 10 million followers.
👉 See also: Donnalou Stevens Older Ladies: Why This Viral Anthem Still Hits Different
The Final Act and the Sabotage Subplot
The climax involves a literal explosion.
Well, a thwarted one.
The tonal shift from a dance number to a spy thriller is jarring. But that was the 40s. They threw everything at the wall. You had to have romance, music, slapstick, and a little bit of patriotism or "fighting the bad guys" to make the budget worthwhile.
Red’s frantic energy actually works well in the finale. His panic feels genuine. When he’s trying to dispose of the bomb, you're not thinking about the plot holes; you're just watching a master of the double-take earn his paycheck.
Why You Should Actually Watch It Today
- The Dancing: Eleanor Powell is a literal goddess of tap. Watching her is like watching a professional athlete at the top of their game.
- The Gags: Even if they are "borrowed" from Keaton, they are executed with high-level craftsmanship.
- The History: It’s a snapshot of 1943. The music, the fashion, the weird blend of genres.
- Red Skelton: He’s a divisive figure in comedy history—some find him too much—but his talent is undeniable.
The film isn't perfect. The pacing is a bit wonky. The transition from the first act’s romance to the third act’s spy antics is as smooth as a gravel road.
But it has heart.
And it has "Star Eyes." That song alone is worth the price of admission.
How to Experience the Best of 1940s Comedy
If you want to dive deeper into the world of the i dood it movie 1943 and the era that created it, don't just stop at the credits.
- Watch the original: Find Buster Keaton’s Spite Marriage (1929). It’s silent, but the comedy is timeless. Comparing the two is a masterclass in how film language changed between the silent and sound eras.
- Listen to the radio: Look up old episodes of The Red Skelton Program. You'll hear the "Mean Widdle Kid" and understand why the phrase "I dood it" was such a cultural phenomenon.
- Study Eleanor Powell: Check out her "Begin the Beguine" number with Fred Astaire in Broadway Melody of 1940. It’s widely considered one of the greatest dance sequences ever filmed.
- Check the archives: Many of these films are now available in high-definition restorations. Avoid the grainy, low-quality uploads on free sites if you can. The costume details and the choreography deserve to be seen clearly.
The i dood it movie 1943 stands as a testament to a time when movies were built around stars first and scripts second. It’s messy, it’s loud, and it’s occasionally brilliant. Whether you’re a fan of big-band music or just want to see a man fight a folding bed, it’s a piece of cinema history that shouldn't be forgotten.