DKosty123 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.

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.

MartinHafer This is one of the teleplays included on the three DVD set from Criterion. All the plays were performed live and it's amazing how good the production values were considering they were put on week after week! Among the films in the set are some amazingly good television events--ones that went on to have expensive Hollywood remakes and in some cases they won Oscars! Such great productions as "Marty", "Requiem for a Heavyweight" and "Days of Wine and Roses" all began first on television--and in some cases this TV version is superior! The basic story idea for "The Comedian" is very, very reminiscent of several other exceptional films from the 1950s. In many ways, it's like José Ferrer's "The Great Man" (1956), Andy Griffith's "A Face in the Crowd" (1957) as well as part of the wonderful film "A Thousand Clowns" (1965) in that all three involve a megalomaniac and downright vicious beloved star--one that America just doesn't know for the jerk he really is.These stories were all were inspired by a real-life event. In the early 1950s, Arthur Godfrey was one of the most trusted and beloved TV personalities--mostly because he came off as so sweet and down to earth. However, in 1953, his anger got the best of him and he actually fired one of his acts ON AIR! And, in subsequent years, his hellish nature became apparent...and his popularity dwindled to nothing. No doubt writer Rod Serling was inspired, at least in part, by Godfrey's example.The comedian from the title is a character played by Mickey Rooney--a huge TV star who has a mean streak a mile wide and takes it out on everyone behind the scenes. He browbeats everyone--but particularly takes it out on his meek brother (Mel Tormé) who is his own personal whipping boy! Mel's wife (Kim Hunter) pressures him to quit--to be a man and stop taking the mistreatment, but his self-esteem is so low that he can't make himself do what he needs to do. In addition to Tormé, a lot of Rooney's wrath is directed to his writer (Edmund O'Brien). Something has to give...as not only these men but everyone who works with Rooney can't stand him and his boorish ways.Overall, it's a very good show--and it's amazing to watch these people doing the show live. However, I must also say that I prefer the films I listed above--they were a bit more subtle and enjoyable--particularly "The Great Man". Still, it's well worth seeing...and an amazing show.

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.