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I Dood It (1943)
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Overview
Release Date:
September 1943 (USA) morePlot:
Constance Shaw is a dance star on Broadway, Joseph Rivington Reynolds is a keen fan of her. After she is fed up with her friend... more | add synopsisUser Comments:
an uncredited remake moreUS TV Schedule:
| Wed. July 9 | 10:00 PM | TCM |
Cast
(Complete credited cast) | Red Skelton | ... | Joseph 'Joe' Rivington Renolds |
 | Eleanor Powell | ... | Miss Constance 'Connie' Shaw |
| Richard Ainley | ... | Larry West |
| Patricia Dane | ... | Suretta Brenton |
| Sam Levene | ... | Ed Jackson |
| Thurston Hall | ... | Kenneth 'Ken' Cawlor |
| Hazel Scott | ... | Herself |
| Jimmy Dorsey | ... | Himself |
| Helen O'Connell | ... | Herself |
| Bob Eberly | ... | Himself |
| John Hodiak | ... | Roy Hartwood |
| Butterfly McQueen | ... | Annette |
| Marjorie Gateson | ... | Mrs. Alice Spelvin |
| Andrew Tombes | ... | Mr. Alfred Spelvin |
| rest of cast listed alphabetically: | |||
| Buck and Bubbles | ... | Themselves |
 | Lena Horne | ... | Herself |
| Jimmy Dorsey and His Orchestra | ... | Themselves |
| Ford Washington Lee | ... | Himself (as Buck and Bubbles) |
| Mitchell Lewis | ... | Greek Taffy Man (scenes deleted) |
| Spec O'Donnell | ... | Autograph Seeker (scenes deleted) |
| Anne O'Neal | ... | Clara (scenes deleted) |
| John William Sublett | ... | Himself (as Buck and Bubbles) |
Additional Details
Parents Guide:
Add content advisory for parentsRuntime:
102 minCountry:
USALanguage:
EnglishColor:
Black and WhiteAspect Ratio:
1.37 : 1 moreSound Mix:
Mono (Western Electric Sound System)MOVIEmeter: 
41% since last week
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Fun Stuff
Trivia:
Footage for the number "Swinging the Junx Away" was borrowed from Born to Dance (1936). moreSoundtrack:
Hola E Pae moreFAQ
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| IMDb Romance section | IMDb USA section | Add this title to MyMovies |
No one seems to point out that his film is a remake of an earlier film Buster Keaton made for MGM titled "Spite Marriage", with many of the visual gags pulled directly from that earlier film with almost no changes. So as well as Red Skelton did in this, an earlier genius had done it first. Many of the best sight gags were lifted note-for-note from Keaton. The two films differ greatly in their sub-plots, but the core premise is the same. If you liked this movie, you should seek out the earlier film; a lot of it is genuinely funny. Although not Keaton at his peak (he was hampered by the MGM-imposed studio system), any Keaton is worth seeing.