Honestly, it shouldn't have worked. You’ve got a 1970s soft-rock icon, a legendary vaudevillian who had basically been retired a few years prior, and a plot that sounds like a Sunday school joke. But when Oh, God! hit theaters in 1977, it didn't just work—it became a genuine cultural phenomenon.
George Burns was 81 years old when the first film came out. He was wearing a windbreaker and a golf cap. He looked less like the Creator of the Universe and more like the guy you’d find at a deli complaining about the price of brisket. Yet, for a whole generation, he was God. No booming voice, no burning bushes, just a cigar-chomping old man with a dry wit and a lot of common sense.
Why the Oh God Movies with George Burns Actually Mattered
Most people remember these movies as lighthearted comedies. They were. But if you look closer, they were actually quite daring for the late '70s and early '80s. This was a time when the "Jesus Revolution" was fading and televangelism was starting to get weirdly aggressive. Then comes along this tiny, raspy-voiced man claiming he made the world and that, frankly, he made a few mistakes along the way.
"Avocados," his character says. "I made them too big in the middle."
The series, consisting of three distinct films, followed a very specific trajectory. It started as a sharp, Oscar-nominated satire and ended as a dual-role fantasy where Burns played both the Almighty and the Prince of Darkness.
The Original: Oh, God! (1977)
This is the one that started it all. Directed by Carl Reiner—who was on an absolute heater at the time—and written by Larry Gelbart (the genius behind MASH*), it was based on a novel by Avery Corman.
John Denver plays Jerry Landers, an assistant manager at a supermarket. He’s a nice guy, an Everyman. One day, he gets an invitation to an interview with God. Naturally, he thinks it’s a prank. But God (Burns) shows up in various forms—a voice in the car, a man in a hotel room—to tell Jerry that he wants him to be a modern-day messenger.
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The message? "I'm here. I care. And I'm not that complicated."
The movie was a massive hit, grossing over $51 million. To put that in perspective, it was the sixth highest-grossing film of 1977. That’s the same year Star Wars and Close Encounters of the Third Kind were blowing people's minds. People wanted spectacle, sure, but they also apparently wanted to hear George Burns talk about how he doesn't do miracles anymore because they’re too flashy and people just get used to them.
The Sequel: Oh, God! Book II (1980)
Sequels are tricky. Especially when your lead "prophet" (John Denver) doesn't return.
In Oh, God! Book II, the focus shifts to a young girl named Tracy Richards, played by Louanne Sirota. God decides that maybe adults are too cynical, so he recruits a kid to help him get his "image" back on track. Tracy comes up with a marketing campaign: "Think God."
It’s definitely the "cutesy" entry in the franchise. It didn't have the biting wit of the first film, and the critics weren't exactly kind. It grossed about $14 million, which was a significant drop-off. But for kids of the '80s who caught this on HBO every other afternoon, it's often the one they remember most vividly. It dealt with the idea that God is lonely and just wants to be noticed—a sentiment that felt very "New Age" but was anchored by Burns’ grounded performance.
The Finale: Oh, God! You Devil (1984)
By 1984, the franchise went full-tilt into high-concept fantasy. This is the one where George Burns pulls double duty. He plays God, of course, but he also plays Harry O. Tophet—the Devil.
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The plot involves a struggling songwriter named Bobby Shelton (Ted Wass) who sells his soul for fame. It’s a classic Faustian bargain. When Bobby realizes he’s made a terrible mistake and misses his old life, he tries to get God to intervene.
The climax of the film is a poker game between God and the Devil for Bobby’s soul. It’s hammy. It’s over the top. But watching George Burns play against himself is a masterclass in comic timing. He makes the Devil seem like a sleazy Hollywood agent, which, let’s be honest, is a pretty accurate depiction of evil.
The George Burns Renaissance
It’s easy to forget that before these movies, George Burns was mostly seen as "Gracie Allen’s husband." When Gracie died in 1964, George was devastated and his career slowed to a crawl.
Then came The Sunshine Boys in 1975. He won an Oscar for it. Suddenly, he was the hottest "new" octogenarian in town. The oh god movies with george burns solidified that comeback. He didn't just play a character; he created a persona that he carried for the rest of his life (he lived to be 100!).
He once quipped that he was the only person who could play God because he was the only one who had been around long enough to remember the beginning. That dry, self-deprecating humor is exactly why the movies worked. If God was a young, handsome guy, it would have felt like a sermon. Because it was George Burns, it felt like a chat with your grandfather.
Surprising Facts You Probably Didn't Know
- The Casting What-Ifs: Mel Brooks and Woody Allen were both considered for the role of Jerry Landers (the John Denver role). Woody Allen allegedly turned it down because he was already making a movie that dealt with God (Stardust Memories).
- The Hair Issue: George Burns famously refused to appear on camera without his toupee. To solve the "God wouldn't wear a hairpiece" problem, the producers just made sure he was always wearing a hat.
- The Courtroom Scene: In the first movie, there’s a famous scene where God is called as a witness. When asked to "So help me, God," Burns replies, "So help me, Me." It’s one of the most quoted lines in 70s cinema.
- The Remake Rumors: For years, there were talks of a remake. At one point, Ellen DeGeneres was attached to a reboot. Later, there were whispers about Betty White taking over the role of God. None of them ever made it past the development stage, likely because filling George Burns’ shoes is an impossible task.
The Theological Side (Sort of)
While these aren't religious movies in the traditional sense, they did spark a lot of debate. Some religious groups found them blasphemous—the idea of God as a fallible, hat-wearing old man didn't sit well with everyone.
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But for many, the movies offered a comforting view of the divine. The "Burns God" wasn't interested in rules or rituals. He was interested in people being kind to each other. He didn't care about what church you went to; he cared about whether you were a decent person. In an era of increasing complexity, that simple message resonated.
It’s also worth noting that the movies never actually "prove" God exists to the world at large. In every film, the protagonist ends up looking a bit crazy to everyone else. God leaves them with just enough proof for them, but not enough for a laboratory. That’s a fairly sophisticated take on faith for a PG-rated comedy.
How to Watch the Oh God Trilogy Today
If you’re looking to revisit these, you won't always find them on the major streaming platforms like Netflix or Disney+. They tend to pop up on services like Tubi or Pluto TV, or you can rent them on Amazon or Apple.
- Start with the 1977 original. It's the only one that is truly a "great" film from a technical and writing standpoint.
- Watch the sequels for the nostalgia. Book II is great if you want something wholesome; You Devil is great if you want to see George Burns chew the scenery.
- Pay attention to the background details. The 70s grocery store in the first movie is a time capsule of prices and packaging that is fascinating to look at now.
The legacy of the oh god movies with george burns is really the legacy of George himself. He proved that you’re never too old for a second act, and that sometimes, the best way to talk about the big questions is with a cigar in one hand and a punchline in the other.
If you want to dive deeper into the era of 70s high-concept comedies, your next step should be checking out the filmography of Carl Reiner. His work with Steve Martin (like The Jerk) carries a similar DNA of smart, slightly absurd humor that defined this golden age of studio comedies. You can also look into the original novel by Avery Corman to see just how much the filmmakers changed the tone from the source material.