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***Delivers the goods for what it is — a big traditional circus flick*** Ringling Brothers and Barnum & Bailey Circus hires a popular Casanova trapeze artist, The Great Sabastian (Cornel Wilde), in order to keep their tour schedule full and he wastes no time romancing his rival for the center ring, Holly (Betty Hutton), who’s in love with the solemn manager (Charlton Heston). But, wait, Angel, the elephant babe (Gloria Grahame), is also in love with the boss man! Meanwhile, the resident clown has a secret past (Jimmy Stewart) and Dorothy Lamour is on hand as a performer. A Cecil B. DeMille production, “The Greatest Show on Earth” (1952) is infamous for winning the Best Picture award above “High Noon” and “The Quiet Man” (and maybe also “Singin’ in the Rain,” which actually wasn’t a huge hit when it was released). I think these critics might be jealous, however, in light of the fact that “The Greatest Show on Earth” was hugely successful with audiences and made 4.5 times as much at the box office compared to “High Noon” and “The Quiet Man.” How much a person appreciates this movie no doubt comes down to whether or not they like the traditional circus and everything that goes with it, but their approval will also rest on if they can appreciate quaint melodrama and the corresponding hammy acting (think “Gone with the Wind”). I was able to acclimate and really enjoyed the picture. There’s constant circus entertainment, of course, but the drama behind the scenes also hooks the viewer, over-the-top though it may be. There’s also an impressive train wreck in the last act. Underneath it all is a welcome warm heart. Of the three women in the main cast, Betty Hutton is the fittest and has the most screen time, but Gloria Grahame is the most alluring, followed by Dorothy Lamour. If you favor circus movies, like the great “Water for Elephants” (2011), you’ll probably appreciate this one, as long as you can adjust to the dated style. The film runs 2 hours, 32 minutes, and was shot in Sarasota, Florida, and Paramount, Hollywood. GRADE: B+/A-
Hyperbole is quite common nowadays with a premium paid for hype and superlatives; but this film really does deserve one such accolade - it is a spectacular feast for the eyes. Set in a travelling circus that appears to employ the population of a small town, we are taken on the frequently bumpy journey of this collection of artistes, misfits and animals as they criss-cross America delighting audiences young and old. It's all headed up by "Brad" (Charlton Heston) who has quite a juggling act of his own trying to keep the profiteers from encroaching on his schedules, his staff from eating each other and to find time for a little romance of his own. On that latter front, we can look to lively efforts from Betty Hutton, Dorothy Lamour, Gloria Grahame and Cornel Wilde as the modestly monikered "Great Sebastian" as the lives, loves and jealousies of these performers take shape. The photography is great - it takes you back to when a circus was a must-see event for millions presenting artistic feats of airborne gymnastics and all facets of humanity - and the animal kingdom - to a spellbound audience. Oscar winning Cecil B. De Mille and cinematographer George Barnes work well to create a colourful and sumptuous film to look at. Sadly, though, it is a bit of a triumph of style over substance. The dialogue is wordy and actually fairly poor, and neither Heston nor Wilde are at their best as the melodrama gradually supplants the imagery creating a rather dreary love-triangle style romance that I found actually quite dull. It's way too long - the skilful photography can only carry the extravaganza so far before it all just starts to drag and although there are some interesting interventions from real life circus performers, the actors just don't blend in quite so well. Except, that is for the clown - James Stewart - who seems to serve as a sort of benign agony aunt to the troupe, whilst concealing secrets of his own. Of all of the epic cinema produced by De Mille, this is probably his least well remembered - and although the production standards are as high as any trapeze artist could ever hope to get, I still couldn't get the scent of manure out of my mind... It is a film one ought to watch though, a part of the history of an industry that set a standard for many to come, but as a piece of drama it is lucky it has a net.
Nora Moran, a young woman with a difficult and tragic past, is sentenced to die for a murder that she did not commit. She could easily reveal the truth and save her own life, if only it would not damage the lives, careers and reputations of those whom she loves.
In one of the occupied European cities, the commandant of the garrison gathers a troupe of circus performers. Coming from different countries, they are in the humiliating position of people forced to serve their enslavers. Many of them, recruited from camps and workhouses, were quite content with their lot. Only after a chain of subsequent events, the artists raise an uprising. Unarmed people are not able to resist the arrived guards. They die, but at the cost of their lives they regain their lost human dignity.
A man of humble beginnings and honest intentions rises to power by nefarious means. Along for the wild ride are an earnest reporter, a heretofore classy society girl, and a too-clever-for-her-own-good political flack.
Middle-class housewife Kay Miniver deals with petty problems. She and her husband Clem watch her Oxford-educated son Vin court Carol Beldon, the charming granddaughter of the local nobility as represented by Lady Beldon. Then the war comes and Vin joins the RAF.
When a woman dies in a car accident, her former husband (a traveling circus worker) learns that his wife was pregnant when she divorced him many years earlier. The now teen-aged daughter enters his life. Can they form a relationship?
In 19th century Paris, a maniac abducts young women and injects them with ape blood in an attempt to prove ape-human kinship but constantly meets failure as the abducted women die.
"Don't pity me, just give me money." A smart little girl, Suzu, for the sake of her beloved sick mother, has no choice but to attempt all ways to fork up the money required for the operation. It includes stealing, cheating and almost anything that could yield cash. However, deep within her is a sadness unseen by many.
Don Birnam, a long-time alcoholic, has been sober for ten days and appears to be over the worst... but his craving has just become more insidious. Evading a country weekend planned by his brother and girlfriend, he begins a four-day bender that just might be his last - one way or another.
Melrose's circus is being threatened by his competitor, who's angry that Melrose has outmanuevered him in bookings; what he doesn't know is that the competitor has also planted a saboteur who creates accidents in hopes of reducing the value of the circus. Meanwhile, he's also hired a beautiful young woman as the magician's assistant, with eyes toward more - but he realizes that, as a midget, she won't have him.
A magician in a carnival-who actually can read minds and levitate people and objects-works with a superintelligent chimp named Alex, who can also talk. The magician and the chimp soon become the stars of the carnival, drawing in big crowds. However, the wild-animal trainer, who has been displaced by the team as the carnival's top act, decides to kidnap Alex and sell him to a medical laboratory for experimentation, thereby getting rid of his competition.
When an invisible man is run down by a car it’s up to an eager young reporter and a strange clown to bring a dangerous gang to justice.
