Milton Berle Movies

A heartless actor scrambles to the top of show business' sleazy summit in this drama. Frank Fane (Stephen Boyd) is a Hollywood leading man who is desperate to boost his career by winning an Academy Award, and he doesn't care who he has to betray to achieve his goals -- including his former best friend and PR man, Hymie Kelly (Tony Bennett), lonely acting coach Sophie Cantaro (Eleanor Parker), slimy agent Kappy Kapstetter (Milton Berle), and long-suffering girlfriend Kay Bergdahl (Elke Sommer). However, as Frank waits for his name to be called, certain that victory is in his grasp, fate has a little secret in store for him. The Oscar marked Tony Bennett's onscreen acting debut. The screenplay, based on the novel by Richard Sale, was written in part by award-winning author Harlan Ellison, who is known to often take comical potshots at the film, which he considers a low point in his career. ~ Mark Deming, All Movie Guide

In preparation for a dramatic movie role, comedian Milton Berle shows up at a skid-row soup kitchen disguised as an alcoholic bum. (He's got tea in his wine bottle, explaining "I'm not a wino -- I'm a tea-o." Barrump-bump!) Doing volunteer work at the soup kitchen, Lucy (Lucille Ball) spots Berle and is convinced that he's a genuine derelict. To throw her off the track, the comedian explains that he's really "Arthur Berle," the down-and-out twin brother of Milton Berle. Swallowing the story whole, Lucy takes "Arthur" home in hopes of rehabilitating the poor man. To quote Mr. Berle, "I'w kiww you a miwwion times" if you give away the ending of this episode. ~ Hal Erickson, All Movie Guide

With this all-star Cinerama epic, producer/director Stanley Kramer vowed to make "the comedy that would end all comedies." The story begins during a massive traffic jam, caused by reckless driver Smiler Grogan (Jimmy Durante), who, before (literally) kicking the bucket, cryptically tells the assembled drivers that he's buried a fortune in stolen loot, "under the Big W." The various motorists setting out on a mad scramble include a dentist (Sid Caesar) and his wife (Edie Adams); a henpecked husband (Milton Berle) accompanied by his mother-in-law (Ethel Merman) and his beatnik brother-in-law (Dick Shawn); a pair of comedy writers (Buddy Hackett and Mickey Rooney); and a variety of assorted nuts including a slow-wit (Jonathan Winters), a wheeler-dealer (Phil Silvers), and a pair of covetous cabdrivers (Peter Falk and Eddie "Rochester" Anderson). Monitoring every move that the fortune hunters make is a scrupulously honest police detective (Spencer Tracy). Virtually every lead, supporting, and bit part in the picture is filled by a well-known comic actor: the laughspinning lineup also includes Carl Reiner, Terry-Thomas, Arnold Stang, Buster Keaton, Jack Benny, Jerry Lewis, and The Three Stooges, who get one of the picture's biggest laughs by standing stock still and uttering not a word. Two prominent comedians are conspicuous by their absence: Groucho Marx refused to appear when Kramer couldn't meet his price, while Stan Laurel declined because he felt he was too old-looking to be funny. Available for years in its 154-minute general release version, the film was restored to its roadshow length of 175 minutes on home video; the search goes on for a missing Buster Keaton routine, reportedly excised on the eve of the picture's premiere. ~ Hal Erickson, All Movie Guide

Ed Wynn hosts this compilation of comedic material from the likes of Imogene Coca and Buster Keaton. ~ All Movie Guide

Jerry Lewis now claims that his film directorial debut came about when his home studio, Paramount, needed a summer-release Lewis vehicle in a hurry. Jerry and his entourage headed to the Fountainbleu hotel in Miami Beach, and 29 days later returned with The Bellboy. As narrator Walter Winchell (and an actor pretending to be a Paramount executive in a pre-credits bit) explain, the film has no plot and no point; it merely exists for the audience's enjoyment. Lewis plays nebbishy bellhop Stanley, a nonspeaking bumbler who alternates between screwing up and taking his job too seriously. The film's Tati-like gags involve a Volkswagen engine, an overweight guest, a woman with a come-hither voice, a very effective flash bulb, an episode at the Greyhound track, a golf tournament, and a passenger jet. Weaving in and out of the proceedings is Lewis' cowriter (and former drummer) Bill Richmond, made up as the spitting image of Stan Laurel (the real Laurel was approached to play himself, but he gently turned Jerry down, insisting that his aged appearance would disappoint his fans). Miami habitues B.S. Pully, Joe E. Ross, Cary Middlecoff, The Novelites make cameo appearances, as does Milton Berle. Made for peanuts, The Bellboy amassed a fortune, assuring that Jerry Lewis would be permitted to direct many of his own films in the future. ~ Hal Erickson, All Movie Guide

Dave Garroway hosts this all-star celebration of network television's tenth anniversary (actually, NBC and CBS had signed on in 1941, but 1947 is the "accepted" debut date). Utilizing the most up-to-date technology available at the time, the program features several remote pickups, with Garroway anchoring in Chicago, Milton Berle appearing from New York, Ernie Kovacs chiming in from Las Vegas, and producer Albert McCreery rehearsing an episode of his anthology Cameo Theatre from NBC's Burbank studios (this last segment was orginally seen in color). On film, Dragnet star Jack Webb discusses the progress of dramatic television, while television critics from New York, Hollywood, Detroit and Springfield, Missouri debate the question "Has TV Fulfilled Its Promise?" Extra added attractions include live coverage of the Veteran Days ceremonies at Arlington, kinescopes of TV broadcasts from Paris, London, Tokyo, and Moscow (satellite technology was, of course, still the stuff of science-fiction yarns), and rare clips from past TV milestones. If The Fabulous Infant still exists, it would be well worth having on the home-video market. ~ Hal Erickson, All Movie Guide

The Milton Berle starrer Whispering Ghosts was clearly inspired by the Red Skelton comedy-mystery Whistling in the Dark (itself inspired by Bob Hope's The Ghost Breakers). Uncle Miltie is cast as H. H. Van Buren, a radio sleuth who delights in solving real-life mysteries ahead of the official constabulary. At the behest of his sponsor, Van Buren tackles an unsolved case from ten years earlier: the death of an old sea captain. To this end, he visits the ship where the dirty deed took place, accompanied by his nervous valet Euclid (Willie Best, who played much the same role in Ghost Breakers). At first convinced that the ship is haunted, our hero deduces that the "ghosts" are actually a gang of crooks, in search of the treasure left behind by the murdered skipper. The arrival of Elizabeth Woods (Brenda Joyce), the lawful heir to the missing treasure, convinces Van Buren to stick around for a while to solve the decade-old murder and locate the captain's legacy. Why is it that none of Milton Berle's vehicles for 20th Century-Fox--Whispering Ghosts, Over My Dead Body, Margin for Error--have shown up on TV since the 1970s? Now there's a mystery worth solving! ~ Hal Erickson, All Movie Guide

If MGM's Red Skelton could make the mystery/comedy Whistling in the Dark, 20th Century-Fox's Milton Berle could show up in the mystery/comedy Over My Dead Body (Berle's reputation for lifting gags from other comics now extended to lifting plot material). Berle plays a mystery writer who forever writes himself into corners and is never able to finish a story. While visiting his wife (Mary Beth Hughes) at the office where she works, Berle overhears several men discussing the suicide of a coworker. Struck with a brilliant notion, Berle decides to confess to the murder of the dead man, certain that he'll be able to wriggle out of the situation and thereby have plenty of material for a story. Alas, it turns out that the deceased gentleman was murdered, and Berle is nearly sent to the chair. In emulation of the Bob Hope/Willie Best combination in The Ghost Breakers Milton Berle is teamed with a "scared" black elevator operator, played by a superb African-American radio and vaudeville comedian named Wonderful Smith. ~ Hal Erickson, All Movie Guide

Cesar Romero plays an outwardly tough prohibition-era gangster who in reality wouldn't hurt a fly. He maintains his "killer" reputation by planting evidence of his involvement at the scenes of other crooks' crimes. Romero begins aspiring for respectability when he falls in love with Virginia Gilmore and adopts the orphaned Stanley Clements. Through his own non-homicidal means, Romero redeems himself by wiping out a genuinely nasty gangster boss (Sheldon Leonard). Tall, Dark and Handsome was remade in 1950 as Love That Brute, with Paul Douglas in the Cesar Romero role--and with Romero playing the villain! ~ Hal Erickson, All Movie Guide

Set in New York City's famed music hall and featuring an all-star cast, this musical chronicles the desperate search of two bungling aspiring songwriters who are looking for the tune that will make them stars. They hear the sweet sound of opportunity's knock when they find a naive country boy who can literally come up with hit tunes in his sleep. Jack Oakie and Milton Berle play the songwriters. ~ Sandra Brennan, All Movie Guide