The Yellow Cab Man (1950)

Approved   |    |  Comedy, Drama, Romance

The Yellow Cab Man (1950) Poster

A clumsy, accident-prone taxicab driver, who invented the elastic-glass, risks losing his valuable invention to a group of con-men led by a crooked lawyer but the pretty lady-owner of the Yellow Cab Co. comes to his aid.




  • The Yellow Cab Man (1950)
  • James Gleason and Red Skelton in The Yellow Cab Man (1950)
  • Red Skelton in The Yellow Cab Man (1950)
  • Red Skelton in The Yellow Cab Man (1950)
  • Gloria DeHaven in The Yellow Cab Man (1950)
  • Gloria DeHaven and Red Skelton in The Yellow Cab Man (1950)

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2 November 2007 | dougdoepke
A Skelton Romp
Some belly laughs in this Skelton madcap. As usual Red plays a good-hearted schlemiel who stumbles from one mishap to the next, but somehow muddles through to win the girl (Gloria DeHaven) and the climax. Here he's an amateur inventor and Yellow Cab man battling veteran baddies Walter Slezak and Edward Arnold.

A great job by the writers. The comedy set-ups are consistently funny and inventive from the mine-field opening of Red walking down the street to the whirlwind close at the L A Home Show . (Forget the muddled story-line which is just a handy post to hang the hi-jinks on.) This was just the kind of slapstick that Skelton could turn into a wild and crazy romp, and he does. .

Catch the great comedic architecture in the early sequence that builds hilariously from the baby-sitting beginning to the nine-one-one close. Too bad this kind of engineering has largely disappeared from today's movie screen. Then too, the crib scene with Red playing both his toddler self and infant sister amounts to 60 second knee-slapper.

In fact, there are a number of special effects scenes that work up more than a few chuckles. But the North Pole dream has something of a nightmarish undercurrent as does Red's getting shoved into the mixer.

I guess my only complaints are the cheapness of the street sets and the dull-grayish quality of the filming (at least, in my copy). Coming from big-budget MGM, such cost-cutters affecting overall quality seem surprising.

Nonetheless, this is a fine little post-war flick whose futuristic house at the Home Show expresses something of the surging spirit of a 1950's America then on the economic upswing.

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