audrablum 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.

megunticook I watched this yesterday and was astounded by the performances of all, but especially Mickey Rooney. He is so natural and fluid. His performance is seamless. For those who think of Mickey Rooney as a happy-go-lucky character type, this performance will floor you. He is nasty and ruthless and heartless. The rest of the cast is similarly flawless. How much time did it take to rehearse, I wonder? Watching these old live broadcasts is also a revelation. That they were able to have such variety and density in such confined environs is amazing. While some things such as transitions and breaks are crude by today's standards, that they did all of this live is impressive. There is a montage near the end of the program with cross-fades and multiple locations. How did they do it? The writing is equally spectacular. Can one think of anything similar being done today? As another reviewer noted, the denouement does have something of a false ring to it. I won't spoil it here. I know how I would have ended it. It would be interesting to read the Ernest Lehman story on which the show is based to see if it is the same.

Steven Mears A searing behind-the-scenes look at a larger than life television personality, which still packs a punch today in spite of its many imitators. Written by "The Twilight Zone"'s Rod Serling as a "Playhouse 90" televised drama, it contains an explosive performance by Mickey Rooney that stands unparalleled in his body of work, prior to or since.Rooney plays Sammy Hogarth, an egomaniacal comedian who demands perfection from everyone around him. His main target is his weak brother, Lester (singer Mel Torme), whose job description basically consists of taking Sammy's round-the-clock abuse, doing his dirty work, and pretending to worship the ground he walks on. Another outlet for Sammy's wrath is his head writer (Edmond O'Brien), who has lost his edge and who, in his desperation to please Sammy, has stolen material from a dead comic. Lester's wife (Kim Hunter) is fed up with her husband's role as Sammy's whipping post, and threatens to leave him if he doesn't rectify the situation. His opportunity to do so comes when he catches wind of the plagiarism, and he threatens to expose Sammy to an acidic columnist unless he cuts a monologue which savagely ridicules Lester.All of the events in the story lead up to a 90-minute telecast which Sammy believes will be the highlight of his career, and must therefore be flawless. That means no last-minute cuts the day before the show, especially the monologue. O'Brien is forced to be the go-between amongst Sammy, Lester, and the columnist, navigating his way with carefully chosen words and ego-stroking. The film is told largely from O'Brien's point of view, and the audience can honestly feel for him as he digs himself into an ever-deeper hole. However, Serling's screenplay is too smart to portray Sammy as a one-dimensional hothead. Actually, he's not at all predictable. In a lesser film, upon discovering the theft of material he would simply explode, screaming his lungs out at everyone in sight. Watch the finesse with which he handles the situation here, and you will witness a marriage of great writing and direction (by John Frankenheimer).That's not to say that Sammy isn't a hothead. As played by Rooney, in a grand, scenery-chewing performance, he is a man so determined to win the undying love of all his fans that he will go to any extreme in achieving that end. Torme demonstrates great acting potential in the role of the spineless brother. His final on-camera breakdown is amazing. O'Brien has perhaps the film's most difficult role, walking a very narrow tightrope and pulling it off marvelously. The most amazing part of the production is the fact that it was filmed live, with no second chances. The actors were obviously comfortable with their assignments, as they were able to move past plain remembrance of lines and create expressions, gestures, etc. "The Comedian" stands as a testament to the capability of television to tell stories in an equally compelling manner as theatrical films.

XTC-2 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.