Art Carney Movies

James Stewart once classified Pot O' Gold as his worst film, though this may have stemmed from his reported inability to get along with his costar Paulette Goddard (who is supposed to have dismissed Stewart's acting technique with a flippant "Anyone can swallow.") Inspired by the popular radio giveaway series of the same name, the film represented an ill-fated production venture for James Roosevelt, son of President Franklin D. Roosevelt. Stewart plays Jimmy Haskell, nephew of breakfast-food mogul C. J. Haskell (Charles Winninger). Befriending bandleader Horace Heidt (playing himself) and his orchestra members, Jimmy and his sweetheart Molly McCorkle (Paulette Goddard) tries to persuade C. J. to sponsor Heidt's radio program. The elder Haskell refuses until Jimmy and Molly's landlady mother (Mary Gordon) come up with a sure-fire "gimmick" for the program: they'll pick names from the phone book at random, call up those numbers, and give away huge prizes to whomever answers-provided that the call-ees are tuned into Heidt's show. This format worked beautifully for the real Pot O' Gold radio program, but tends to fall flat on screen, despite the energetic musical contributions of Horace Heidt and his entourage (including a very young and astonishingly articulate Art Carney, in his film debut). In England, Pot O' Gold was retitled The Golden Hour. ~ Hal Erickson, All Movie Guide

Although he tried very hard to become a movie star as well as create and produce television entertainment that was a lot flashier, like it or not, The Honeymooners ended up being the single creation for which Jackie Gleason was best known. One irony surrounding its recognition over the decades was that, as a series in its own right, it was only on for a single season, 1955-1956, with 39 episodes running 26 minutes each. They were performed in front of a live audience but shot on film to be broadcast later. All of the other Honeymooners shows -- the so-called "Lost Episodes" -- were comedy sketches of varying lengths, performed and broadcast live as part of Gleason's larger variety program The Jackie Gleason Show; they were preserved on kinescopes, films shot of the show off of a studio monitor. The results were crude, but effective, rather like the sketch comedy itself. The sketch performances of The Honeymooners from 1952-1955 may have established the setting, the premise, and the characters, but those 39 filmed episodes showed what could be done with them under ideal circumstances.

Set in a working-class section of Brooklyn (actually resembling Bushwick, but referred to as Bensonhurst because the latter sounded more "Brooklyn-like" to people from outside New York), the series told of the daily life of bus driver Ralph Kramden (Jackie Gleason) and his wife Alice (Audrey Meadows) of 328 Chauncey Street, a rundown, walk-up apartment building, and their neighbors and best friends, Ed Norton (Art Carney), a sewer-worker, and his wife Trixie (Joyce Randolph). Most of the action took place in the Kramdens' dimly lit, dingy apartment, with its table, chairs, dresser, and ice-box; we occasionally see the Nortons' better-decorated apartment upstairs, and every so often a scene might be set at Ralph's bus company or on a street adjacent to where Norton was working in a man-hole or the local pool room. Rarely there would be a scene in a fancy restaurant or at the home of one of Ralph's bosses or a wealthy acquaintance. Most of the scripts dealt with one of Ralph's "million-dollar ideas" and how they seemed to inevitably end in disaster for Ralph and Norton, usually with Alice (often joined by Trixie) watching sardonically from the sidelines. This often occurred after an argument in which Ralph has gesticulated with his fist in Alice's direction and muttered, "Bang! -- Zoom!" or "Do you want to go to the Moon?" Some of the other scripts dealt with Ralph and Norton's lodge, the Loyal Order of Racoons, or Ralph's stormy relationship with Alice's mother.

That The Honeymooners could rival the impact of I Love Lucy, which ran years longer and left behind many hundreds more episodes, is a tribute to its cast and crew, especially the show's writers. The best of The Honeymooners' scripts (and there were a lot that could qualify) were seamless, self-contained wholes unto themselves. The episodes come off as being every bit as beautifully symmetrical as the best one-act plays, often with some surprisingly serious subtexts beneath the surface, and a delightful self-referential quality where its own medium was concerned. The opening episode, "TV or Not TV," in which Ralph and Ed buy a television set jointly, only to discover that they can't get along for even a single night watching the set, is a side-splittingly comic sketch and essay on the seductive power of television on people's lives, presented at a time when it was a new device in homes. "Better Living Through TV" takes us back to the same subject from a slightly different angle and, in the process, manages to mercilessly parody a then-current Chef Boyardee commercial -- as well as poke fun at Gleason's avoidance of complete rehearsals -- while anticipating at least a generation's worth of laughable, late-night commercials to come. "The $99,000 Answer" gives us yet another glimpse of what television meant to (and did to) people in the 1950s.

All through the series, there were woven into the scripts little references to television as a pop-culture force, including the episodes "Ralph Kramden Inc.," "Here Comes the Bride," "The Baby-Sitter," etc. Yet Gleason and his writers also managed to leave room -- in the form of what was perhaps a last, fond look back for all of them -- for newspapers and magazines to figure in people's lives in a major way, as in "On Stage," "Head of the House," and "A Matter of Life and Death." What's even more astonishing is that they did it all in an authentically lower-class/working-class New York setting with accurate, outer-borough dialects and phrases, while, in the process, presenting a last look at the ideal of the great American melting pot. Just as important, they successfully sold it as a hit series to the rest of the country. Even as Milton Berle's popularity declined and television audiences grew beyond the confines of major cities and the Northeast to places that were less accepting of his urban, Jewish, burlesque-derived humor, Gleason and company presented the most urban-focused, New York ethnic comedy this side of The Goldbergs and scored a hit with it for one glowing season. And contrary to popular belief, the series didn't die because of low ratings. The ratings were fine and CBS and the sponsors were happy, but Gleason pulled the plug when he realized that his writers could never equal those 39 scripts used in that golden season. ~ Bruce Eder, All Movie Guide

Art Carney plays the title role, so to speak, in this live, 90-minute Playhouse 90 adaptation of Brandon Thomas' classic stage farce Charley's Aunt. The play's basic premise--Oxford undergrad Lord Fancourt Babberly (Carney) must pose as the elderly aunt of his roommate Charley Wyckeham so that Charley and his friend Jack Chesney will have a proper escort for their two girlfriends--is merely the springboard for a whole new batch of complications cooked up by the author of the TV version, the redoubtable Leslie Stevens. For starters, Babberly is now forced to don old-ladies' garb for an amateur theatrical production or else he'll lose his standing in the Oxford shot-putt team, necessitating the creation of a character not found in the original play, athletics coach Sandeford (played by former child star Jackie Coogan). Additionally, the character of Babberly's sweetheart Ela Delahey is eliminated, and a conspicuous duck pond figures largely in the slapstick proceedings. One of the few Playhouse 90 installments to be performed before a studio audience, Charley's Aunt boasts an astonishingly stellar supporting cast, including former MGM songbird Jeanette MacDonald as Donna Lucia (the real Aunt), MacDonald's husband Gene Raymond as Sir Francis Chesney, humorist Orson Bean as Jack, future novelist Tom Tryon as Charley, waspish Richard Haydn ("Uncle Max" in The Sound of Music) as Stephen Spettigue, and Sue Randall, later to achieve fame as "Miss Landers" on Leave It to Beaver, as Kitty Verdun. Charley's Aunt is one of several Playhouse 90 episodes currently available in kinescope form on home video. ~ Hal Erickson, All Movie Guide

Here's Jackie Gleason at his finest as he plays the hilarious Ralph Kramden, the wacky and beloved bus driver. ~ All Movie Guide

Art Carney guest stars as Cyril T. Jones, a timid gunsmith who is caught in the crossfire of a gangland killing. Though his wound is minor, Cyril is afraid to leave the hospital for fear he has been targeted for death because he witnessed the earlier "hit." Finally, Cyril hits upon a brilliant idea that will ensure him round-the-clock police protection: he will commit a murder himself. ~ Hal Erickson, All Movie Guide

Twilight Zone's Yuletide offering for the 1960-61 season was this videotaped episode. Art Carney stars as Henry Corwin, a philosophical, booze-guzzling department store Santa Claus. Dismissed from his job, the disgruntled Corwin stumbles across a strange-looking bag, one that profoundly changes not only his life but the lives of everyone with whom he comes in contact. Reliable TV actors John Fiedler and Burt Mustin spice up the proceedings in this irresistably charming exercise. Written by Rod Serling, "Night of the Meek" first aired December 23, 1960. ~ Hal Erickson, All Movie Guide

In Paul Mazursky's rueful character drama, 57-year-old Art Carney plays Harry, a 70-plus Manhattan widower who loses his tiny apartment to the wrecking ball. Accompanied by his pet, an aged cat named Tonto, Harry sets out on an odyssey to Los Angeles. During his journey, he finds a kindred spirit in a youthful hitchhiker (Melanie Mayron), who eventually finds happiness with Harry's grandson (Joshua Mostel). Harry makes stops at the homes of his grown children (Philip Bruns, Ellen Burstyn, and Larry Hagman), but each visit is more disappointing than the last; he also touches base with an old flame (Geraldine Fitzgerald), who has slipped into senility. By the time he arrives in L.A., Harry has become dispirited by his desultory visits with friends and family, but he eventually realizes that each new day can be a beginning rather than an end. ~ Hal Erickson, All Movie Guide