MartinHafer As I watched this Jack Carson film, I couldn't help but think that it seemed very similar to many of Red Skelton's movies. This isn't a complaint...though I think Skelton might have handled this sort of material a bit better.Biff (Carson) is the Good Humor man in the film. He's a good natured doofus who never seems to actually make any money while making his rounds but this isn't what gets him into trouble. The problem is that he wanders into the middle of an apparent murder and soon cops all over town are looking for him. With the help of a bunch of kids (the WORST part of the film) he eventually manages to use a lot of slapsticky things to capture the baddies and prove himself innocent.While this was generally decent, the last portion was terrible...in fact, downright embarrassing. It seemed cheap, stupid and hollow at the end. It's a shame but it brought down the score from a 6 to a 4.

flapdoodle64 This is an obscure, uneven, and frankly cartoonish film starring the now-forgotten comedian Jack Carson. It is also one of 3 Columbia Pictures product-placement comedies of which I am familiar, the other 2 being 'The Fuller Brush Man,' with Red Skelton & 'The Fuller Brush Girl,' with Lucille Ball. Columbia might have made others but darned if I could find anything on them. I couldn't find anything specific about how these films were financed but since the Fuller Brush Company & the Good Humor (Ice Cream) Company were both viable commercial enterprises in those days, it's obvious they contributed 'plug money' to the productions in exchange for significant exposure.This film is today mostly remembered because it has numerous references to the original Capt. Marvel comic books, a fan-club, and a non-existent Capt. Marvel radio show. We are talking about the 1940's version of Capt. Marvel, today erroneously called 'Shazam' by most people, who wore a red suit with a lightning bolt emblazoned on the chest.Despite the fact that Capt. Marvel's publishers obviously contributed some of the plug-money for this film, the references to the Captain include nothing specific about the character, such as his super-strength, or ability to fly. Conspicuously absent are any mentions of Billy Batson, the 14-yr.-old boy who utters the magic word 'Shazam' in order to become the mighty Capt. Marvel.Perhaps more conspicuously, when the script calls for the Capt. Marvel fan club to utilize a recognition code word, there is no a mention of either of Capt. Marvel's two trademark catch-phrases: 'Holy Moley!' or 'Shazam!' Instead, the rather awkward 'Niatpac Levram' (Captain Marvel spelled backwards) is used.It is as if the script had been written generically, so that any hero's name could put be used to fill-in-the-blanks.Or perhaps Superman's publishers had pressurized Columbia Pictures to minimize the film's promotional value. 'The Good Humor Man' was released on June 1, 1950, while Columbia released the first chapter of the serial 'Atom Man Vs. Superman' on July 20, roughly 6 weeks later. This second (and last) Superman chapter play was reportedly the highest grossing US serial of all time.Superman's publishers, you see, had been working tirelessly to sue Capt. Marvel out of existence since 1941. The wanted a monopoly on superheroes, and sadly, in 1953, achieved their end.In a strange twist of fate, the The Good Humor Man's villain turns out to be George Reeves. Reeves wasn't in either of the Superman movie serials, but in 1951 he would accept a job playing Superman in what has become the most durable superhero TV program ever, and achieving his own tragi-comic immortality.Since the titular hero of this film is an early version of the man-boy archetype (forerunner of Seth Rogan), it's too bad the writers didn't bother to work in any references of Billy Batson's ability transform from kid to grown-up & back again. But it's characteristic of a film that is even less than uninspiring, and is in fact, barely watchable. Even the Fans of Capt. Marvel will find this a disappointment, since their hero is treated shabbily. Despite this, they will not miss the opportunity to record in on TCM, just as I could not.

styner-2 I wholeheartedly endorse the previous reviewer's comments (q.v.), having seen "The Good Humor Man" at about the same time and at the same age. One interesting aspect has to do with the Captain Marvel "product placement." (The kids, customers of Carson's character who help him in the denouement, are members of the CM fan club). Shortly after the film was released, the Captain Marvel comics and other products disappeared when the copyright holders finally succumbed to a suit brought by DC Comics alleging too many resemblances between Captain M and that sissy Superman! That may be the reason that no video of this movie seems to be available through normal commercial sources.

frankfob Many people associate Jack Carson's movie character with that of a stereotypical used-car salesman: loud, pushy, not averse to bending the truth a bit when it suits his purpose--in other words, pretty much of an obnoxious boor (and a role he actually played--to perfection--in a memorable "Twilight Zone" episode). What they forget is that Carson was a skilled and vastly underrated actor, capable of far more than what was usually expected of him, and this film is a case in point. Here Carson plays a role at which he really excelled--the big, good-hearted galoot, not quite the brightest bulb in the room but with an innate decency and guilelessness that more than made up for any of his other shortcomings. Carson had the same kind of persona that Lou Costello did--a somewhat rambunctious little kid trapped in a grown-up's body--and in this film he pulls it off as effortlessly as did Costello. He plays a Good Humor driver who not only brings ice cream to the local kids, but is pretty much one of them--among other things, he belongs to their chapter of the Captain Marvel fan club. Lola Albright (whom Carson married a few years later) plays his girlfriend. The plot has Carson getting mixed up with some local gangsters, finding himself in danger of losing his job and his girl, and eventually getting his buddies in the Captain Marvel club to help save the day. The sure hand of director Lloyd Bacon, an old pro at this sort of picture, keeps things moving swiftly, and there's a bang-up finale. Carson and Albright--and, more importantly, Carson and the kids--work well together, and it's an enjoyable, and often extremely funny, example of the kind of comedy of which Jack Carson was capable. If it pops up on TV check it out, or if you see it on the video-store shelf, rent it. You won't be disappointed.