In truth, there is barely enough story here to make a film.

Clever and entertaining enough to recommend even to members of the 1%

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

This week I watched the episode The Comedian (1957) from the Playhouse 90 television series. A comedic television personality with a Mr. Hyde personality and a god-complex backstage makes life miserable for everyone around him including his manager brother. This episode was amazing in the fact that it was not edit intensive and much of the story was taped live. Surprisingly for the shooting style it remained highly engaging throughout the entire film. Mickey Rooney played the difficult personality of the comedian named Sammy Hogarth, who bullies everyone around him. The interesting thing about this viewing experience is that it seems very relatable. This is a very real personality and those of us who have experienced this can attest that Mickey Rooney's portrayal of Sammy was spot on to this personality type. The sad thing about this show is that it seems like a desperate cry for help from people in the film and television industry. It says that this abuse in the industry is overlooked and no one seems to care. This episode was actually based on a novel by Ernest Lehman and the screenplay was written by the Twilight Zone founder Rod Serling. The screenplay was very strong and I think some of its greatest strengths are that it uses the character of Sammy Hogarth as the abusive, self-inflated boss to tell a very relatable story, not just in film but in many workplaces. The weakness in this script is what I refer to as the leatherface syndrome, which was a prevalent outbreak amongst directors during the golden age of television. Sufferers of this disease would cast actors and write screenplays where old men would hook up with women who could be their granddaughters. The writers and directors minds would delude them into believing that not only would these young, attractive, 20 year old women fall for their grandfathers, but the men they would fall for would look nothing like a George Clooney or Tom Cruise. Thankfully, years later the outbreak subsided and directors and writers were no longer as prone to this disease. The episode was directed by John Frankenheimer, who would later write classics like Reindeer Games (2000). One of the strongest points of directing was the fact that this episode used very little editing (as stated earlier in this review). This appears to have taken quite a bit of contemplation and direction to pull off effectively and a part of me wonders if we still have this level of directing talent today, or if anyone really cares.

If you pulled out a tape of an old radio drama, and then migrated it to television, this would be a great example. Most of the CBS Playhouse 90 dramas fit this logical mode but what makes them special is the fact they are done live like the old radio dramas were. It helps having a great script which Lehman & Rod Sterlings interpretation here sparkle.Mickey Rooney gives a great performance as the over-bearing comic star who is the boss of his own comedy television show whose over-bearing on his brother & his staff are making everyone pay a toll to him. His ego knows no bounds as is illustrated many times throughout this drama. Rooney is fantastic as his work over the years illustrates the talent he has, but here in particular you understand how much talent he has.The surprise is Mel Torme who plays Rooney's brother. He is the pin cushion in this drama as he has to take everything his brother dishes out including monologues on every show making fun of him. His brother tries to do everything he can to him including putting stress on his marriage. Kim Hunter is here to play that role and she proves again as in other live dramas (Req For A Heavyweight) she did in the 1950's that she is up to the role. Torme & Hunter provide great support here. Edmond O'Brien is great in support as the Head Writer who has his own tormented plot twist here.A small role that I can't find a credit for here is the scandal sheet gossip columnist role who is trying to find dirt on Rooney. That's because either he has a twin brother or this role is filled by an uncredited Richard Basehart. This is a small but important role as this columnist is very much involved in the plot with Rooney's brother & the head writer.This is a high class drama when live drama was the king of prime time in the 1950's. Especially haunting is the huge door with the blow up photo of Rooney on it. It is used to great effect here.

Fresh on the heels of the release of his successful feature film debut The Young Stranger, John Frankenheimer directed this Rod Serling-penned study of a television comedian, played by Mickey Rooney, who is a megalomaniac. The story is based on a novelette by Ernest Lehman. Mickey Rooney is mesmerizing as Sammy Hogarth, an abusive and obnoxious lout who has everyone in his orbit cow-towing to him. Mel Torme must have been a dramatic revelation at the time playing Rooney's put upon brother Lester who finally has the goods, albeit, temporarily on Hogarth. Kim Hunter is Lester's frustrated wife who loves her husband but can't stand the passive wimp he has become. Edmond O'Brien is the head writer desperately trying to hang on to a career that has become increasingly ethically challenged. Frankenheimer effectively casts Rooney, who gives one of his finest adult performances, as the little man who runs everyone into the ground. Rooney is absolutely ruthless and stops at nothing to salvage his broadcasts when things go awry. Torme is equally pathetic, sad, sympathetic, and wimpy as a man at the end of his rope trying to assuage his wife and fend off his brother's abuse simultaneously. Hunter is excellent as a torn woman trying to force her husband away from the demon Hogarth. O'Brien is very good as the writer who makes a terrible mistake and then must play politician as his career crumbles in front of him. Frankenheimer directs the story with the right mix of close-ups, two-shots, and zoom shots featuring the ferocious performances he gets from his actors. Rod Serling received his third Emmy Award for his script which moves the story tautly and quickly. Frankenheimer directed several other programs for television in the 1950's, but with The Comedian, he demonstrated he was a force to be reckoned with for future dramatic productions. This is one of the many tremendous productions yielded by Playhouse 90. ***1/2 of 4 stars.

This tells the story of an old vaudevillian comic (Rooney) who will do ANYTHING for the show, and at the same time, totally ignore the feelings of his family, particularly his brother (Mel Torme).It is a fascinating production, where Rooney's character, empty of soul, fills the screen with venom and vitriol.Torme, the weaker, less-talented brother, suffers him silently until the end, where he finally loses his grip.I was surprised to see Rooney in such a devastating performance. It makes "Mr. Saturday Night" look like a film-strip.