Bootleg Betty
Bette Midler: Her Finest Movie, TV & Stage Moments
By Mister D
March 29, 2026
Bette Midler has delivered several standout performances across film, television, and Broadway that earned widespread critical praise, award nominations, and recognition for her dramatic range, comedic timing, singing, and charisma.
Here are her most critically acclaimed ones, focusing on those that received major accolades (like Oscar nominations, Emmy nominations, Tony nominations, Golden Globes, high Rotten Tomatoes scores, or consistent praise in rankings and reviews):
Films
The Rose (1979) — Her breakthrough film role as a self-destructive rock singer (loosely inspired by Janis Joplin). This earned her an Academy Award nomination for Best Actress, a Golden Globe win for Best Actress in a Motion Picture – Comedy or Musical, and is frequently cited as one of her finest dramatic performances. It’s often ranked among her top films for critical acclaim, with strong praise for her vocal and acting intensity.
For the Boys (1991) — Midler played a USO entertainer spanning decades, opposite James Caan. She received her second Academy Award nomination for Best Actress, along with a Golden Globe win. Critics highlighted her emotional depth, musical numbers, and chemistry in this war-era musical drama.
Gypsy (1993) — As the larger-than-life stage mother Rose in this acclaimed TV movie adaptation of the Sondheim musical. She won a Golden Globe for Best Actress in a Miniseries or Television Film and earned strong reviews for her powerhouse performance (often called one of her best, especially vocally and dramatically). It’s frequently praised in retrospectives.
Divine Madness (1980) — A concert film capturing her live stage show with comedy and music. It holds a very high Rotten Tomatoes score (100% critics) and is lauded for showcasing her raw energy and talent as a performer.
Ruthless People (1986) — A sharp comedy where she played a kidnapped wife in this hit farce. It boasts a high Rotten Tomatoes score (93%) and is often ranked among her best comedic turns for its timing and hilarity.
Other notable mentions in critical rankings include Beaches (1988) for its emotional tearjerker impact (and the iconic “Wind Beneath My Wings”), The First Wives Club (1996) for ensemble comedy brilliance, and supporting roles like those in Get Shorty (1995) (high RT score).
Television
Midler’s TV work, especially musical and variety specials, has been highly regarded:
Gypsy (1993 TV Movie): As the formidable stage mother Mama Rose in this acclaimed adaptation of the Sondheim musical, she delivered a powerhouse performance. She won a Golden Globe for Best Actress in a Miniseries or TV Movie and earned Emmy recognition (including a notable performance of “Rose’s Turn”). Critics called it one of her finest dramatic-vocal turns, with many ranking it among her career best.
Variety specials and concerts: She won multiple Primetime Emmys, including for Ol’ Red Hair is Back (1978) and Bette Midler: Diva Las Vegas (1997/1998), praised for blending music, comedy, and charisma.
Her short-lived sitcom Bette (2000–2001) also earned a Golden Globe nomination for her lead role.
Bette Midler has made memorable guest appearances on scripted TV sitcoms and talk/variety shows over the years. While most of her major critical acclaim and awards in television come from her starring roles (like Gypsy), variety specials, and her own projects, several guest spots earned praise for her comedic timing, larger-than-life personality, and scene-stealing energy—sometimes leading to Emmy nominations.
Here are the most notable and critically/acclaimed guest appearances:
Scripted Guest Roles (Sitcoms)
Murphy Brown (1998) — In the original series finale, Midler played Caprice Feldman, Murphy’s comically unhinged and incompetent secretary #93 (complete with a tiny chihuahua named Mr. Bojangles). The cameo was brief but hilarious, showcasing her sharp delivery and physical comedy. It earned her an Emmy nomination for Outstanding Guest Actress in a Comedy Series. Critics and fans often cite it as a standout, quotable moment that perfectly fits the show’s chaotic tone.
The Nanny (1997) — Midler appeared as herself in the episode “You Bette Your Life” (Season 4). Fran Fine meets her at a charity auction, leading to funny interactions and a memorable chase scene through the Sheffield mansion. The episode highlights Midler’s self-deprecating humor and chemistry with Fran Drescher. It’s frequently remembered fondly by fans as a delightful, high-energy cameo that played to her “Divine Miss M” persona.
Seinfeld (1995) — She guest-starred as herself in the sixth-season finale, “The Understudy.” The episode involves Elaine and others interacting with Midler during a theatrical production. While not as widely praised as her other spots, it’s noted in her filmography for the meta, celebrity-cameo style typical of the show.
The Politician (2019–2020, Netflix) — Midler played Hadassah Gold, a recurring character (appearing in 8 episodes across Seasons 1–2). This was more of a supporting arc than a one-off guest spot, but it earned her another Emmy nomination for Outstanding Guest Actress in a Comedy Series in 2020. Critics appreciated her bold, scene-commanding performance in Ryan Murphy’s satirical series, blending comedy with her signature flair.
Other occasional voice or animated guest work includes The Simpsons (“Krusty Gets Kancelled,” voicing herself) and various talk-show appearances.
Talk/Variety Show Appearances with Critical Note
Midler’s most acclaimed “guest” moments often came on late-night and variety programs, where her singing and banter shone:
The Tonight Show Starring Johnny Carson (1992) — As Carson’s final guest, she delivered an emotional, show-stopping performance of “One for My Baby (and One More for the Road).” This heartfelt rendition earned her an Emmy win (in the variety/performance category) and is widely regarded as one of the most memorable closings in late-night history—praised for its intimacy and vocal power.
Saturday Night Live (1979) — She performed musical numbers (including “Married Men” and “Martha”). The episode is remembered for her energetic presence during SNL’s early years.
Her three Primetime Emmy wins overall are tied to variety specials (Ol’ Red Hair is Back, Diva Las Vegas, and the Carson appearance), which often blurred the line between guest spot and headlining performance.
In summary, her guest appearances are generally short, comedic bursts that highlight her wit and star power rather than deep dramatic work. The Murphy Brown cameo stands out for its Emmy recognition despite minimal screen time, while The Nanny and The Politician show her ability to mesh seamlessly with ensemble casts. These spots complement her bigger TV achievements, like Gypsy and her specials, proving her versatility even in brief appearances on other shows.
Broadway
Midler’s stage work, particularly her later starring roles, earned her some of her highest theatrical acclaim:
Hello, Dolly! (2017 Revival): As Dolly Gallagher Levi, this was her triumphant return to Broadway in a leading musical role after decades. Critics raved about her “dazzling star power,” comedic brilliance, warmth, and ability to elevate the classic show into a joyous event. She won the Tony Award for Best Actress in a Musical, plus Drama Desk and Outer Critics Circle honors. Reviews described it as “irresistible,” “blissful,” and a “perfect match,” with the production becoming a box-office smash driven by her performance.
I’ll Eat You Last: A Chat with Sue Mengers (2013): In this one-woman play, she portrayed the legendary Hollywood agent in a gossipy monologue. Critics praised her “lusciously entertaining” delivery, wit, and commanding presence, calling it a highlight of the Broadway season and a perfect vehicle for her personality.
Early work: She made her Broadway debut in the original Fiddler on the Roof (1960s) as Tzeitel and received a Special Tony Award in 1974 for her overall contributions to theater (including concert work).
Overall, her most acclaimed dramatic peaks are The Rose, For the Boys, and Gypsy (where singing and acting fuse powerfully), while Hello, Dolly! represents her theatrical triumph, and Ruthless People / Divine Madness highlight her comedic and live-wire energy. These roles underscore why Midler is often called “The Divine Miss M”—a versatile, larger-than-life talent who commands attention across mediums.
OK, she has another movie coming out shortly (Cut Off), and I oh, so, oh, so want to be optimistic about it. Let’s just say that I’m cautiously optimistic about it, as it has all the ingredients of being a terrific success: great cast (Bette, Kristin Wiig, Nathan Lane, Jonah Hill, etc.) and a major Warner Brothers theatrical release (the date still hasn’t changed–it’s still slated for July 17). Streaming will be on HBO after its theatrical window. I’m hoping for that “O” in EGOT, or that supporting actress Golden Globe nom in Musical/Comedy, for Bette.
However, another movie (Outcome) just started streaming on Apple this weekend that has similar elements: Same writers (Jonah Hill, Ezra Woods), same director (Jonah Hill), and another terrific cast (Keanu Reeves, Cameron Diaz, and yes, Jonah Hill, etc). However, “Outcome” is getting crucified by the critics. A 4.6 on the IMDB (one critic called it ‘an unwatchable disaster’), which is pretty close to the reaction to “Fabulous Four”. Rotten Tomatoes has it at 27% with a Popcornmeter of 31% (not much better), and Metacritic has it at a generally unfavorable 37. So, the question is, can “Cut Off” be the phoenix that rises from the ashes of its predecessor, and be well-liked, well-reviewed, a hit at the box office, and an award-worthy offering? I certainly hope so, but now I have to curb my enthusiasm a little, and I sure as shit don’t want to.
“Cut Off” is the movie that Hollywood invested in, and the movie that the very big Warner Brothers placed their bets on. However, after reading the reaction to “Outcome”, I would be lying if I wasn’t as nervous as a cat on a hot tin roof. I like Jonah Hill, and I think he has talent. Bette, of course, can always be depended on to deliver, and in many if not most cases, rise above everything else. The German poster for “Cut Off” which is constantly being put up and taken down on the IMDB, shows Bette large, top and center (with blond, not gray hair, so I’m not sure about that), which subtly makes her character in the film fairly prominent (hopefully, more than the walk-on performance we saw on “Sitting in Bars With Cake”). Anxiety is strong with this one. It’s too early to get a vibe yet, but I have all my fingers and toes crossed (if I could cross my “nuts” I would–I just don’t have low hangers, lol). I’ll be keeping my eyes and ears open for any sneak peeks, advance screenings, or trailers. I have a feeling we should be getting something within the next few weeks or month or so. In the meantime, I would love to add this movie to her list of the finest. It is certainly getting some “buzz” as being among the most anticipated movies of the year.
xoxo
Ron, I’ve been on the same trajectory as you as far as Bette’s new movie. I got myself too excited with the pre-release stuff and I’m trying to tamp it down. I watched the Keanu movie the other night and was bored stiff. But I read an interview with Jonah Hill and Martin Scorsese and Hill said Cut Off was an entirely the opposite of the Keaneu movie. The jokes and rhythm of the movie is high energy, so we’ll just have to see. That poster was AI generated and not official. That’s why they keep taking it down. Hang tight, my friend, I still think there’s a chance Bette could be up for supporting/ Can’t help it