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Skelton made his film debut in 1938 alongside Ginger Rogers and Douglas Fairbanks Jr. in Alfred Santell's Having Wonderful Time, and would appear in numerous musical and comedy films throughout the 1940s and 1950s, with starring roles in 19 films, including Ship Ahoy (1941), I Dood It (1943), Ziegfeld Follies (1946), and The Clown (1953).
I Dood It (UK title By Hook or by Crook) is a 1943 American musical comedy film starring Red Skelton and Eleanor Powell, directed by Vincente Minnelli, and released by Metro-Goldwyn-Mayer. [2] The screenplay is by Fred Saidy and Sig Herzig and the film features Richard Ainley, Patricia Dane, Lena Horne, and Hazel Scott.
Bathing Beauty is a 1944 American musical romantic comedy film directed by George Sidney, and starring Red Skelton and Esther Williams. [2] Although this was not Williams' screen debut, it was her first Technicolor musical. The film's working title was Mr. Co-Ed, with Skelton having top billing.
Du Barry Was a Lady is a 1943 American musical comedy film directed by Roy Del Ruth, starring Red Skelton, Lucille Ball, Gene Kelly, and Tommy Dorsey and His Orchestra. It is based on the 1939 stage musical of the same name. Shot in Technicolor, the film was produced and distributed by Metro-Goldwyn-Mayer.
Whistling in the Dark is a 1941 American comedy film directed by S. Sylvan Simon.It is the first of three films starring Red Skelton as Wally "the Fox" Benton, who writes and acts in radio murder mysteries.
When the film was released, Skelton was a familiar figure to American television audiences. The Red Skelton Show debuted on September 30, 1951, on NBC, in a half-hour format like the one used on Dodo Delwyn's fictional show. With changes of network, format (to one hour) and name, to The Red Skelton Hour in 1962, it lasted until 1971.
Neptune's Daughter is a 1949 American Technicolor musical romantic comedy film released by Metro-Goldwyn-Mayer starring Esther Williams, Red Skelton, Ricardo Montalbán, Betty Garrett, Keenan Wynn, Xavier Cugat and Mel Blanc.
The project had been in development for four years. Producer Simon got permission from the Fuller Brush company and wrote the story with Skelton in mind but was unable to secure studio interest until the success of Miracle on 34th Street (1947) showed the benefits of commercial tie-ins for feature films.
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