My favorite comic will always be Uncle Miltie and he was a scream in this one. Hammy and corny beyond belief, this slapstick had me rolling on the floor. The story involved a up and coming third rate comic trying to break into big time show biz. He must first work second rate clubs and resorts, but finally gets his big shot when taking over a routine for a fellow actor. Lots of good hoofing, sight gags, and joking around in the famous Berle style.
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mark.waltz15 April 2021This musical comedy is more of a drama with sketches and a bunch of songs you got suddenly turns profound as cheap comic Milton Berle finds out some truths that he has been reluctant to face. He's a vaudeville comic known for stealing from the best, and when he gets the chance to go on for one of the best, for him, it's only another gig rather than a chance to really give people what they need. It's only when it's too late that he realizes that a joke ain't everything, and it's there when you realize that inside every comic is a great deal of sadness.
When Bert Lahr mentions a bunch of comics who have gone on to their greater reward, audience is may only recognize the name of W. C. Fields (as Bill), but Ted Healy and Willie Howard will be names that only the most culturally genius of modern audiences will remember. Certainly, other modern comics of 1949 are mentioned (Hope, Burns, to name a few), and Milton Berle will certainly strike a memory cord, having worked with RuPaul and Fran Drescher before he went to his great reward.
The first half of the film is a series of old gags and a reflection of Berle's character's ego, one that is lacking in heart and one that he must learn about on his own rather than just hear about through the ailing Lahr whom he replaces. It is here that audiences may find a better film than what they started to see, because it becomes a bit profound and it reflects on all entertainers, not just comics. A Jolson imitation by Berle will have mixed reactions.
Lahr and his younger onscreen wife Virginia Mayo (given killing over the title with Berle but really not having a lot to do until the second half) are traveling in a musical (loosely based on the musical review "Make Mine Manhattan", a Broadway hit the year before), and Lahr must step back for health reunions. Pictures from the original review (that starred Sid Caesar) show that they did take at least a few ideas from that show, while Bert Lahr starred in another review ("Two on the Aisle") after this was released.
The egotistical but struggling Berle steps in, having failed on his own and having issues with chorine girlfriend Ruth Roman (daughter of a veteran vaudeville team played by Grace Hayes and Alan Hale Sr.), and perhaps he will come out of this experience understanding a little bit more of the heart of show business rather than just the command for applause. When Milty makes a comment that TV has no future, it's an unintentional laugh because even though it was at its infancy at the time, the joke proved to be a false one since Uncle Miltie ended up being on TV for nearly 60 years.
While Berle is funny in spots, the jokes are so corny that they lay eggs that won't crack, and Lahr does a lot of the same schtick, winning applause in his big dramatic scene. Hayes and Hale are the best as far as on-stage magic is concerned because they are just so adorable together. Roman and Mayo are both lovely, but Roman stands out with her beauty and heart. Iris Adrian plays another of her loud mouthed brassy dames, a deserving victim of Berle's wisecracks. It's a mixed bag that hasn't stood the test of time but is certainly worthy of being put in a capsule as our entertainment heritage it certainly worthy of preserving, the good and the bad of which there is a lot of both. -
classicsoncall19 September 2016It seems to me Milton Berle is an acquired taste. Having seen him in countless variety shows in the Fifties and Sixties including his own, it's pretty safe to say that many of the bits shown in this film were available to TV fans back in the day. He was probably one of the first comedians to do it up in drag and his Carmen Miranda bit in this flick was almost expected. Still, I can't help but feel that most of this picture was unsatisfying and not very funny, in fact, some of it was embarrassingly juvenile.
The story line manages to name drop some of the celebrity headliners of the day, folks like Hope, Benny and Skelton, Burns and Allen and even Jimmy Durante a couple of times. It would have been cool to see a few of them show up in cameo roles but that wasn't the case. Seeing Bert Lahr was kind of neat, as he put the Cowardly Lion into his first bit on screen and proceeded to demonstrate some of his own vaudeville style. His dancing bit with Berle in the 'Silvery Moon' number was entertaining, and as I sit here now thinking about it, I can't say who might have done it first, the two of them or Hope and Crosby. Very nice footwork in any event.
It's probably safe to say that Milton Berle's own rise in show business probably paralleled that of his character Kip Cooper in the film. There's no denying the man earned his oft stated title of Mr. Television for his contribution to the new format during TV's Golden Age, often making it up as he went from week to week. Still, there are times in this movie when the going gets tedious and the title of the picture just doesn't seem to fit. -
westegg23 January 2005Probably not intended as such in 1949, in retrospect this film shows an interesting juncture between old time show biz and the imminent influence of television, which changed everything. The film captures some fascinating relics of an earlier time, such as Bert Lahr reprising a famous burlesque-type routine of his from the early '20s. Milton Berle excels in acting out all sorts of comedic styles and formats then in vogue or already seen as passe. Despite its chirpy title song, the film has a surprising toughness and unsentimentality for its era (witness the happily cruel "Men's Club" scene). Recommended for those into show biz history, and also a great way to see some genuinely funny stuff.
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I didn't have high hopes for this film, but I watched it because I was just a very little kid when Uncle Miltie was all the rage. My grandparents bought their first television set because they didn't want to keep going down to the neighbors each week to watch Milton Berle's Texaco extravaganza. That's a major reason that television bloomed just shortlyl after this film was made. I personally remember Milton Berle's television programs and appearances in the late 1950s and through the 1980s (and even a bit beyond). He wasn't a favorite, nor did I dislike him; I just knew that a little Milton Berle went a long ways. Milton Berle made Red Skelton's Clem Kaddidlehopper look sophisticated.
I'd never seen him in a film other than "It's A Mad, Mad, Mad, Mad World', where he had a limited role. And for this film -- "Always Leave Them Laughing", made the year I was born, I thought it would be interesting to see a film that was originally designed for Danny Kaye. I can't think of two comedians more un-alike.
Well, Berle pulled it off in this film. I'm not saying that I'd want to see him in a lot of films, but he played this part well, and for those who don't like to watch the scratchy old kinescopes of his old television shows, you can get a fair idea of who Milton Berle was in the sketches in this movie. There is evidence here of Berle's ability as a dramatic actor, which later surfaced a number of times in television dramas.
In terms of the script...well, essentially it's a vaudeville story, which is fine. Outdated now, but still good to look back on. The one place that the film sort of goofs, although they do explain it away, is the idea that Berle's character essentially killed Bert Lahr's character. After all, Lahr's character was set to return to Broadway full-time the next evening. It was his decision, not Berle's character's decision.
Ruth Roman, not usually a favorite of mine, was quite good here as the girlfriend, Virginia Mayo as Lahr's character's wife, also good...but not great. Always good to see Bert Lahr, as well as Alan Hale, Sr.
It's good to watch this film to understand a little about one of television's most important comedians. And the film is reasonably good. I won't be tempted to watch it a second time, however. -
ksf-231 July 2022The comedy giants of the black and white era film. Uncle milty. Bert lahr. Alan hale, who must have been in every single movie made before 1950. The top actresses of the day virginia mayo, ruth roman. Kip ( milton berle) is trying to book somewhere, anywhere, but ... he's past his prime, and all his gags are old, dusty vaudeville bits. Television killed off vaudeville way back when. Even one of the agents says "this kind of thing went out ten years ago." there's some funny stuff in here, done by the pro's, but it won't be for everyone. Some fun guests, and many references to other performers. Unfortunately, he does blackface, a reference to al jolson. Possibly the last time it was done in the movies. Fountain pens? Just shows how old the material really was. The story is pretty silly, but we do get to see milty doing comedy. And drag. He did mostly television after this. Directed by roy del ruth, who had started out with the genius mack sennett. Del ruth has an interesting story detailed on wikipedia dot org; he worked with all the greats.
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planktonrules19 September 2015"Always Leave Them Laughing" is an interesting curio in many ways, but isn't a particularly good movie. Let me explain. When this film was made back in 1949, Milton Berle was the biggest name on television and much of his show's success was based on Berle doing t the sort of shtick he'd been doing for years in Vaudeville. So, here you get to see a semi-autobiographical film where Berle does a lot of the corny and over-the-top routines that made him famous. However, and this is VERY important, a lot of it just isn't funny. The jokes are so old and familiar that many viewers will recognize them and the rest fall pretty flat. Worst of all is the cop routine by Bert Lahr--that REALLY aged poorly. Yes, he was popular in the good old days but today this seemed very tired and cringe-worthy at times. Another thing that will make you cringe is seeing Berle do a third-rate Jolson routine--in black- face! Plus, Berle's character was, at times, really difficult to like.
Is it all bad? No. When Berle isn't trying to be funny he's pretty good. And, it's surprising to see how limber and graceful he is when he dances--and several of the dance numbers (particularly with Lahr) were nice. But this just isn't enough. The film is a window into a bygone era...one that just doesn't work or entertain in the 21st century. -
martin-fennell1 June 2021Comedy is often hilarious, but gets bogged down in sentiment.
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There are a couple of reasons why lovers of musicals on the silver screen might want to watch this old stinker, none of them having to do with its quality as a film. One is the musicals numbers themselves, of which there are many, including great old standards by Harry Warren and George Gershwin. The other is to watch the unbelievably corny shtick performed by Milton Berle and Bert Lahr. It's hard to explain Berle's popularity as a television pioneer; his jokes and routines reek of someone who wants to be the life of the party but ends up being just annoying.
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ricmarc200116 April 2005I happened upon this film by accident whilst I was channel surfing. Having never seen "Uncle Milty" in an acting role before I just had to stop and watch.
While this films story is one of those behind the scenes show biz stories of a comic trying to get into the big time, what I found to be absolutely fascinating was the character of Rene played by Iphigenie Castiglioni in what can only be read as a very, very lesbian night club owner for whom Berle auditions doing a comedic routine playing the piano and singing Miss Otis Regrets, a song written by the very gay Cole Porter.
The nightclub owner Rene with her mannish hairstyle, tuxedo (worn during the day!) and long, long cigarette holder with her aperitif is the quintessential gay stereotype for the era. How the combination of Rene in her garb and the suggestive Cole Porter song got past the censors is beyond me, but I am sure it was quite appreciated by gay audience members as an acknowledgment of their presence in show business. -
This boring salute to vaudeville type gags and sophomoric humor stars MILTON BERLE as an egotistical song-and-dance man who fancies himself to be the next big TV star once he gets his big break. Aside from the dreadful skits sharing the spotlight with lovely VIRGINIA MAYO or RUTH ROMAN, it's hard to see why he became the overnight sensation depicted here.
The only halfway decent routine is the tap-dancing routine he shares with BERT LAHR, who plays a rival entertainer who has suffered a heart attack and is now able to perform again. Unfortunately, after this delightful routine supposedly performed shortly after Lahr's release from the hospital, he falls dead. The plot then becomes a cliché ridden one laden with somber moments that don't really seem genuine.
It's a film like this that deadened any chance of Berle making it to the big screen in a flashy starring role. Only die-hard fans could possibly call it a "great" film. It's more like a great disappointment. -
froberts7324 May 2011What surprised me most about this movie were the few moments watching Ruth Roman doing some fancy dancing. As my old girl friend used to say -- "I didn't know you had it in you." Miss R usually plays it straight, and always well. I have no idea why she was not used more often in song-dance roles.
She looks good, acts good. And, the ever lovely Virginia Mayo was excellent as an opportunist. I'll watch her anytime so, don't hold the Mayo.
The star, obviously, was Uncle Milty who was admired by all the critics, with the exception of one sourpuss. As another reviewer pointed out many of the comedians excelled in straight roles. In this movie, the Unc alternated between very funny and very serious, but always convincing.
The Cowardly Lion was his usual self, and there's not a thing wrong with that.
I would have enjoyed more skits but this flick was not a review. There was a good story attached. The movie always left me laughing, except when it was not supposed to. -
SnoopyStyle6 November 2022Kipling 'Kip' Cooper (Milton Berle) is a hack comedian doing second rate nightclubs. It's a long road to his eventual success. A young whippersnapper is eager to copy his success, but Kip's agent recounts the hard winding road.
It's a lot of hack comedy. Milton does a black-faced spoof. It's all very hacky and not actually that funny. It's no surprise that the best moment is Bert Lahr's heart-felt speech about comedy from the heart. I've only seen Milton Berle in old small clips. I wasn't around during his heydays. I do wonder if comedic sensibilities have changed or maybe Milton Berle is playing the hack comedian too well. -
atlasmb10 March 2014The reviews for this film seem to be split between those who don't think much of it and those who adore it. I can understand the enjoyment in reliving some old comedy bits, but that is not enough--for me--to make this film a success.
Unfortunately, the writing is terrible. In parts, the script is so melodramatic that it pulls you right out of the scene. And even worse, the writers often have Milton Berle performing for the film's audience when he should be performing for the theater audience in the film. I guess they just couldn't help themselves. But it takes the viewer out of the story, more than once. If they had done that consistently throughout the film, then we might be able to forgive them and consider it a stylistic choice. But when Bert Lahr is on screen, he stays in character the entire time and does not play to the viewer. His performance is the best part of this film and the main reason I give it three stars.
I wanted to give it two stars just for the luminous beauty of Virginia Mayo (Zsa Zsa like in her perfection) and Ruth Roman, but Ms. Mayo's "serious scenes" are excellent examples in how to chew scenery; she can blame part of it on the dialogue they gave her. Ms. Roman, on the other hand, has the chops to shine right through words.
It IS fun to hear some of the tried and true (repackaged and reused) bits from Vaudeville and lesser locales. But that is about all this film has to offer.
The life of a comic is, no doubt, full of unpredictability, self-doubt and wearisome travel. It's too bad the script of Always Leave Them Laughing couldn't stop laughing long enough to be taken seriously.
For a better example of the comic as serious actor, see Jerry Lewis in The King of Comedy. -
jb-051624 December 2017Robin Williams, Tom Hanks, and Jack Lemon. I bet you can think of others.
Unfortunately, Berle ain't one of them. Bert Lahr doesn't do so well either.
It is great to see some of his old acts but some of them don't hold up. -
eyesed2 June 2000This is not much of a story but it is a GREAT chance to see 2 Old-Timers, Berle & Lahr , do some classic routines , that were so familiar the audience, they could have followed along word for word. Inside info says they both couldn't stand each other but it doesn't show in the work ! I know Uncle Miltie has had his time in the spotlight but I hope someone says "Thanks " before he's gone !
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dougdoepke7 December 2011A small-time comic works his way up to the big time.
The two hours is mainly for fans of Uncle Miltie. Berle is in just about every scene, along with a number of his costumed skits. As expected, some skits are funnier than others; however, I wish this overlong movie had stayed on a light comedic level. Instead, it veers off near the end into heavy drama, which could have been easily lopped off.
Catch that bouncy opening—as I recall, it plays much like Berle's hit TV show that helped put TV on the map in the early days. Anyway, if guys get tired looking at the star, there's the delectable Ruth Roman standing around in various stages of undress, and also a shapely Virginia Mayo doing some surprisingly good dance steps. Comic actor Bert Lahr gets his turn on the stage. But to me, his brand of humor is a matter of taste.
I suspect Warner Bros. was testing the waters to see if Berle's appeal carried over to movies as well as TV, in the way it did for Bob Hope over at Paramount. However that may be, I think the movie would be better if shorter and strictly light-hearted. -
edwagreen22 November 2009We are faced with a lot of slapstick comedy here as Milton Berle traces his rise in an average film. One must take note of the bit musical routines done by none other than Ruth Roman. Kudos to her for being able to pull this off.
The picture gets very good when it turns dramatic. Berle, going on stage to substitute for an ailing Bert Lahr, becomes a hit only to find out that Lahr will return to the show. Of course, when Lahr dies suddenly on stage, Berle is bereft with guilt for asking him to come on stage. We then learn that Lahr's much younger wife, Virginia Mayo, wasn't really the nice person she was supposed to be. In fact, she shows elements of her character as the wife of Dana Andrews in "The Best Years of Our Lives."
The picture succeeds because it deals with the discovery that success isn't necessarily everything, especially if it comes from imitating someone else. In other words, it's the old story of having to work hard to achieve success by yourself. -
donniefriedman15 July 2022I just caught this movie on TCM, and I quite liked it. Milton Berle perfectly plays the wise-cracking comic trying to claw his way to success. I enjoyed hearing the old shtick delivered rapid-fire and with an edge of irony. Having missed Uncle Milty's tv days, I can see that he really was a consummate entertainer...not to everyone's taste, but one of a kind in my opinion. Not a bad song and dance man either. And a pretty fair dramatic actor when drama is called for. This movie is worth seeing if you're interested in the world of entertainment back in the day.
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RichN3616 April 2005I came across this movie at 4am on TCM. What a Missing Gem of a movie. Unlce Milton Burl was at the top of his Form in this film. True like some comments have said the Skits were old even in "48" and Unlcle Milton used the skits on his Long Running TV show. I know this because I grew up watching him on Reruns. Too Bad someone doesn't bring this out on DVD it show cases a Classic Comic in his Prime would love to hear his Commentary on this Movie. By the everyone says this is Milton Burls only Movie. Have we already forgotten the Great "Mad Mad Mad Mad World"?????????? He did a great job in that movie as well but at a different point in his life.
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TheFearmakers16 December 2023In the frame story of the first television star Milton Berle's 1949 big screen vehicle ALWAYS LEAVE THEM LAUGHING, a young comic watches Milton as fictional-self Kipling "Kip" Cooper filming his own successful TV-variety show...
Which is supposed to be what Berle's Kip worked so hard to perfect: a vaudeville-trained standup comedian's hyperactive struggle to reach the point of being, basically, TV's beloved Milton Berle...
Yet ironically, this supposed creative peak is worse than the deliberately low-rent gigs leading up: ranging from a heckling men's club violently preferring strippers to comics, or lying about a lucrative musical role to his girlfriend...
And despite the second-billing and poster covers, it's not Virginia Mayo... her part's relatively peripheral as a gold-digging wife of a comic superstar that Kip... who makes a sparse living imitating more famous comedians... ultimately aspires to: until taking over hospitalized Bert Lahr's Broadway Show, where leggy bombshell Mayo's both wife and on-stage co-star, edging towards a spicy romance with Kip...
Meanwhile his genuine love-interest (initially more engaged in friendship than romance) is the strongest character aboard in Ruth Roman's Fay Washburn... along with Lloyd Gough's caustic yet dependable agent, she remains faithful to a zig-zagging career where Berle desperately tries to, as the title goes, ALWAYS LEAVE THEM LAUGHING: a propaganda programmer that both overreaches and entertains like the fervent entertainer being depicted...
And yet, despite TV's biggest star ultimately flopping on the big screen, a vigorous, determined, always-moving Milton Berle proves he can try being funny like no one else, keeping busy enough so not to rest on his laurels: which would ironically happen for the rest of his hit-and-miss (real life) career.