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This isn't the best film Red Skelton ever made. That is probably either "The Fuller Brush Man" or maybe even when he was teamed with Fred Astaire in "Three Little Words". However, it is funny enough and very sweet. Skelton plays Merton Gill, an usher from a small town that dreams of making it big in films back in 1914. He unintentionally foils a robbery attempt at the theater where he works and attributes his success to his movie hero, Lawrence Rupert. Rupert's publicist thinks it would be good publicity for Rupert if Gill were invited to Hollywood for a few photos labeling Gill as Rupert's protégé. Unfortunately, Morton believes he really is Rupert's protégé and is disappointed when he is told to take a hike after the publicity campaign is over. He takes several stabs at making it in the movies, but his overacting and clumsiness get him ejected every time. What Morton doesn't know is that what is hideous acting in a drama is perfect for the slapstick comedies of the 1910's, and this leads to his big break. Skelton is perfect as the naive and easily rattled Merton, and Virginia O'Brien is very good as the stunt woman who ends up Merton's protector and love interest.

The original silent version of this film made in 1924 is lost, and one interview with Buster Keaton prior to 1924 had him saying that he would really like to make this film himself. He did in a way. He was an uncredited gag man on this and many of Skelton's other MGM films, and you can see the Keaton touch in several of the gags throughout the film. Recommended if you want to watch something that will make you laugh and also warm your heart.

Seeing both Stu Erwin and Red Skelton essay the role of Merton Gill in two vastly different ways makes me now more curious than ever about what Glenn Hunter's performance on stage and on the silent screen was like. Did Hunter lean more to Erwin or Skelton or did he have a unique interpretation all his own. As his 1924 film version of Merton Of The Movies is considered lost, we may never know.

We certainly can't go back to the original stage production of Merton Of The Movies for consideration either. With Glenn Hunter in the title role it ran for 392 performances during the 1923-24 season on Broadway and was written by George S. Kaufman and Marc Connelly. As in the Erwin version I did not see the acid wit in the script that Kaufman was noted for.

Interpretation is the key to this film, Skelton relied far more on his gift of physical comedy. Unlike the 1932 version which was set in that present era of the early talkies, this Merton Of The Movies was set in the early silent days as the play was. Skelton is Merton Gill who has a degree in theater arts from a correspondence school and armed with that heads to Hollywood to become a serious actor like his idol Leon Ames.

But the man is naturally funny as Red Skelton was in real life. He can't see it though.

Red's got two women in his life, silent era vamp played very nicely by Gloria Grahame and Virginia O'Brien of the deadpan as the girl who loves him for what he is.

Skelton is fine, but Leon Ames may have had his career role as the vain stage actor who thinks film is beneath him though he does it because he's developed a habit of eating. I think Ames borrowed a lot from John Barrymore in how he presents this character. In any event Ames looks like he's having a great old time hamming it up in a role that calls for precisely that.

Red Skelton's version of Merton Of The Movies holds up well though I prefer Stu Erwin's Make Me A Star with its glimpse of the Paramount lot of 1932 and cameos of the various stars working there at the time. It's a timeless story and could use a remake today. As I said when I reviewed Make Me A Star, I think Jim Carrey would be tremendous in the role.

This is a pleasant little movie starring Red Skelton and Virginia O'Brien as actors in the infancy of the silent era. I enjoyed the film, but I didn't find it as entertaining as the three previous film reviewers.

Both Red Skelton and Virginia O'Brien turned in nice performances; I kept waiting for her to sing at least one song, but it never happened. Gloria Grahame and Leon Ames also were believable in their roles.

The movie was rather predictable and reminds one of Singin' in the Rain in spots.

It is a movie worth checking out, but I won't be watching it again.

Today as part of a Red Skelton tribute on his birthday TCM showed this among many of his other movies, and I'd like to say that even though I only tuned in in time to see only half of this movie, Merton was no disappointment! You're not exactly splitting your sides, but you are entertained and amused as long as you are watching it. Skelton makes it look so easy, but achieving what he was able to while keeping his comedy clean as a whistle is pure genius and well worth watching!

"Merton of the Movies" is a Red Skelton movie that sure lacked originality. It's based on the movie by the same name from 1924 and was already remade in 1932. Additionally, the plot bears a very strong resemblance to a Harold Lloyd film from 1932--"Movie Crazy". So, while this 1947 film is nice, it's all terribly familiar. Plus, the Lloyd film was a heck of a lot better.

Skelton plays the title character, Merton Gill--a rube from a small town that thought his path to becoming a movie star was by taking a correspondence course. So, when he wins a trip to Hollywood, he incorrectly assumes it's because of his diploma--but it's really just a publicity stunt. However, he's not deterred and tries to get work as an extra. But he's a clumsy oaf and seems to be out of place in dramas-- until his girlfriend (also an actress) convinces the studio executives to use his terrible footage and just market the films as comedies. Soon, Merton is a star but has no idea everyone is laughing at him. What's next?

This is a rather agreeable film but not much more. Skelton has done better stuff but it's a decent time-passer provided you haven't seen these other films--then it just seems a bit repetitious.

Red Skelton plays a small town movie fan with dreams of being a star. He gets his opportunity, albeit not as he would have hoped. He wanted to be a romantic leading man and instead he becomes a (unintentional) comedy sensation. Along the way he's helped by a stuntwoman who falls for him. Rare leading lady role for Virginia O'Brien, a wonderful comic actress known for singing songs in a deadpan style. No singing here, but she does get lots of Eve Arden-esque lines opposite Skelton's clueless hero. This was basically and sadly the end of her movie career. She was done with MGM and essentially the business shortly after. Gloria Grahame is great in a fun part as the vampy Hollywood star Skelton's character is in love with. This story had been filmed at least twice before, the best of which was the 1932 version with Stuart Erwin and Joan Blondell. Skelton puts his own touch on things, for better or worse. I think he was fairly dialed back here, maybe too much so. Still, I enjoyed the picture.

Kansas theater usher (and dramatic acting school graduate!) thwarts a robbery and is brought out to Hollywood by train in the Silent Era strictly for quick publicity; he winds up living on a park bench waiting for an acting job, and finally gets one filling in for his idol, an irresponsible star who's been hitting the bottle. Third film-version of a play by Marc Connelly and George S. Kaufman, based on Harry Leon Wilson's book, now revamped as a comedic vehicle for Red Skelton. Earliest scenes are best, with our dimply, aw-shucks hero politely scheming his way onto movie sets, with amusing results. Slapstick sequence at a high-toned Men's Club seems to belong to a different picture, although the pay-off there is also funny. Runs out of steam towards the end, however Skelton and Virginia O'Brien are a good match. Direction by former-choreographer Robert Alton is quick on its feet, and there are some big laughs in the first hour. **1/2 from ****

The silent era was still barely twenty years ago when this third version of the early 20's Broadway hit (which had then of course been a contemporary subject) was made; and to make the era quainter the action has been moved back to 1915 (Harry Leon Wilson's original novel had been published in 1922), although it makes little difference, and one doesn't really get much authentic flavour of silent days.

Five years later came Hollywood's definitive pastiche of Hollywood during the twenties - 'Singin' in the Rain' - and the cast of 'Merton of the Movies' even includes (playing Leo Ames' manager) Douglas Fowley, who played the hapless silent director coming to terms with the microphone in the later film. Blonde movie star Beulah Baxter proves a much more likeable person than the ghastly Lina Lamont immortalised by Jean Hagen in 'Singin' in the Rain'; and scarily staring-eyed Virginia O'Brien might have made a more convincing silent-screen vamp than baby-faced Gloria Grahame during her brief mid-forties incarnation here as a blonde. What Miss O'Brien sees in that gurning galoot Red Skelton is anybody's guess, but she makes an interesting heroine, and the film is pleasant enough if superficial.

Small-town fool Red Skelton finds himself in Hollywood. He imagines himself a polished actor, and tries to get hired by a studio.

Virginia O'Brien has her last MGM part here as Skelton's leading lady and she acquits herself well, Skelton acquits himself very well in the serio-comic role. However, despite some nice replication of old-time Hollywood, this adaptation of (ultimately) Harry Leon Wilson's novel is a bit mechnical, as Skelton gets his break dong a comedy that he thinks is a serious drama. The gags are placed too neatly, and lack the imagination of other Skelton vehicles, in which Buster Keaton was the gag man and S. Sylvan Simon the director.. Perhaps Robert Alton should have been given the chance to direct musicals instead of comedies. Instead, he went back to Broadway, where he wona Tony for choreographing a revival of Pal Joey. With Gloria Grahame, Leon Ames, Charles Brown, and Hugo Haas.

With the silent version untraceable, I can compare the two available versions, the 1932 (Make Me a Star) and this one of 15 years later. And in the fifteen years the standard has fallen so much that, in my opinion, this one is to be avoided as poison Ivy. The only character who could almost match was the pretty Virginia O'Brien. In fact because of her I got the disk, since probably this is the only movie where she got a sizable role, and she didn't disappoint much, even when the Lamp was Joan Blondel in the 1932 Version (Phyllis/ Flips Montague). Except her all other faded completely - whether in role definition or the execution - compared to the earlier one. Two other major roles - Skelton Vs Erwin (Merton Gills) or Sam Hardy Vs Charles Brown (Jeff Baird) - are simply not worth comparing. And as a foot note - neither was direction - the master piece was the Gate landing bang on Skelton's head, and the result was he having a hand in sling and even a stick-plast on chin, but nothing on the head (and no, it didn't slide down on his shoulder, scraping his chin) where he was struck ! Even the sympathetic role (and the guilty complex) of the two - Montague and Baird were far better defined/ executed in the 1932 version - or the seriousness - to comic proportion (and he hated comedies) - of Merton, was convincing and still comic.

Avoid it like plague, and go with the 1932.

"Merton of the Movies" is one of the best movies I have ever seen, and it is one of my personal favorites. Red Skelton and Virginia O'Brien are both smashing as usual. The role of the naive, unknowing Merton Gill/Clifford Armytage is perfect for Skelton. The role of the knowing, comforting, concerned Phyllis Montague is perfect for O'Brien. It also provides a decent view into the workings of Hollywood and of the private lives of the stars during the silent film era. It is also a very touching movie, as we see O'Brien's increasing concern for Skelton's well-being. This is a must-see for any comedy fan, and those who love a good romance.

33 years earlier, Merton Gill (Red Skelton) is a country bumpkin from Kansas. He accidentally becomes a hero which is attributed to his fandom to Hollywood star Lawrence Rupert (Leon Ames). He is invited to Hollywood. After the required publicity, he is given a train ticket home. Only he refuses to go home and struggles to make it in the pictures. He befriends Hollywood veteran Phyllis Montague (Virginia O'Brien). He gets hired to act opposite his favorite movie star Beulah Baxter (Gloria Grahame). He thinks that it's a serious story, but he's being set up to be the butt of the joke.

This is based on a book with a couple of previous adaptations. I like Red Skelton for this character. He does clueless well and with good humor. The kissing scene is actually very sweet and cute. It's not the hottest chemistry, but there is a virginal niceness to the pairing. The ending is a little weak, but it is good that he accepts his comedic turn. It does feel like the last act went through the blender and chopped to bits. It may explain the short running time.

If "slapstick" is your genre here is one of the best. I saw it in 1947 or -48 shortly after its release.

I have been on the lookout for it on tape but to no avail. Hopefully it will be preserved as one of the outstanding examples of "slapstick".

Merton Gill (Red Skelton) is an usher from Tinkerton, Kansas, who yearns to be a movie actor and thinks his worthless diploma from the Budolph School of Dramatic Acting will help him realize his dream. When Merton foils a robbery - supposedly using the skills he learned from his idol, Lawrence Rupert - the fading film star's gun-toting lackeys bring Merton to Hollywood to drum up some much-needed publicity. But after a speedy photo shoot, Rupert and his underlings are through with the country bumpkin and give him a ticket back home. A resolute Merton remains in Hollywood and does his best to get a job at Mammoth Studio, where he befriends the famous Beulah Baxter's stunt double, Phyllis Montague (Virginia O'Brien). Merton proves to be a natural - if unintentional - comedian and gets a job burlesquing Lawrence Rupert. Only Merton thinks he is playing a serious part.

This poorly plotted slapstick comedy pays half-hearted homage to the silent movie days and does a particularly indifferent job of recreating Keystone-style antics in the climax. There are several funny sequences, including a scene at a men's club and another in which Beulah Baxter (Gloria Grahame) attempts to get Merton drunk - but they have little to do with movie-making.

The romantic angle is surprisingly affecting. Skelton does an adorable job with a sometimes irritatingly naive character, and the quirky Virginia O'Brien gives her character three times what it deserves.