CIRCUS WORLD -- Movie Review by Porfle

 

Originally posted on 4/12/21

 

 

Currently watching: CIRCUS WORLD (1964) with John Wayne, Claudia Cardinale, and Rita Hayworth. Also with Lloyd Nolan, Richard Conte, and John Smith of the TV western "Laramie."

 

Henry Hathaway (TRUE GRIT, THE SONS OF KATIE ELDER) directed this departure from Duke's usual western adventures, although the rugged star still sports his trademark cowboy hat and inimitable swagger.

 

This time, however, his "Matt Masters" character is a circus owner whose dreams of touring Europe are dashed when the ship carrying his entire enterprise (animals, people, and equipment) all but capsizes in a Barcelona harbor.

 

 

After a slow start, this shockingly sudden sequence, which occurs early in the film, is both jarring and breathtakingly spectacular, using a full-scale ship mock-up that rivals the one constructed by James Cameron for "Titanic." 

 

Several minutes after this impressive spectacle gave way to Masters and his young partner Steve (John Smith) beginning the long, arduous task of putting another circus together, I was still breathless from that thrilling maritime disaster.

 

The middle part of the film is practically sedate in comparison, settling into an ensemble comedy/drama that focuses on young Claudia Cardinale's aspiring circus performer Toni, her budding romance with Steve, and a very serious subplot about her estranged mother Lili, played wonderfully by veteran actress Rita Hayworth.

 

 

 

The interplay between the various characters isn't as effortlessly light or involving as Howard Hawks managed in Duke's previous adventure "Hatari!", although the script, whose writers included Nicholas Ray, Ben Hecht, and James Edward Grant, mercifully avoids most of the usual circus story cliches. 

 

It's fun watching Duke and the gang rebuild their finances by working in a wild west show for European audiences, and seeing how he wrangles a circus as opposed to a cattle ranch or lawless town. 

 

Old standbys Nolan and Conte help keep things real while an appealing young Cardinale adds spark to her scenes four years before she would attain screen immortality as "Jill McBain" in Sergio Leone's classic western "Once Upon A Time In The West."

 

 

 

Best of all, though, is a more mature Rita Hayworth bringing her considerable presence to bear as her character reenters the performing world while desperately trying to mend the rift between her and her daughter Toni. 

 

But just as the film caught fire early on during the shipwreck sequence, an equally spectacular finale gives us nothing less than a raging inferno which threatens to burn down the entire bigtop and everything in it on the very day of the new circus' debut, and again an otherwise unremarkable film is transformed into a thrilling nailbiter that had me on the edge of my seat. 

 

It's these two bookend scenes that make CIRCUS WORLD a must-see for John Wayne fans. But while everything in-between comes off as relatively pedestrian, it's still a pleasure to spend time with these actors and their likable characters.

 

CIRCUS WORLD -- Movie Review by Porfle

THE LAST CIRCUS -- DVD Review by Porfle

Originally posted on 10/12/11

 

You don't watch Spanish director Álex de la Iglesia's THE LAST CIRCUS (2010) as much as you're propelled through it.  Frenetic, intensely melodramatic, and way off-the-wall, it's like a Jackson Pollock painting with broad splashes of humor, tragedy, beauty, and violence. 

After a cool main titles montage, we find ourselves in a circus in Spain circa 1937.  The clowns' performance is interrupted by militia pressing men into service to fight in the Spanish Civil War.  Next thing we know, there's a clown in drag wading into a platoon of National soldiers with a machete, in the midst of a spectacular battle in the streets.  Already we know that this isn't going to be your average movie.

His son, Javier, grows up to be a sad clown in a circus dominated by Sergio (Antonio de la Torre), a "happy" clown who is the children's favorite despite his savagely violent nature.  Javier (Carlos Areces) falls in love with Sergio's gorgeous acrobat girlfriend Natalia (Carolina Bang), who is fond of Javier but perversely excited by Sergio's abuse.  When the clowns finally clash, all hell breaks loose.

A visual feast, THE LAST CIRCUS takes us on a dizzying tour of baroque circuses, blazing battles, and off-kilter urban tableaux where mad clowns with machine guns terrorize the citizenry.  Javier's attack on Sergio leaves him with a face that would make the Joker wince--thus ending his career performing for children--while the increasingly psychotic Javier's gleeful self-mutilation gives him a grotesque, permanent clown face meant to strike fear as he goes on a ramapage of revenge against the world. 

Areces, a portly, plain-looking actor, deftly takes his character to this drastic stage after first appearing as a normal and deceptively meek-looking man gradually driven to violence to protect his Natalia.  After his attack on Sergio, he becomes a wild man in the forest and ends up actually biting an elderly General Franco in one of the film's most weirdly comical moments, after which he transforms himself into the homicidal clown monster. 

As Sergio, de la Torre gives a raw performance that takes on added richness once his facial disfigurement makes his character even more volatile and unpredictable.  Most exhilarating for me, however, is the statuesque Carolina Bang as Natalia.  Whether performing her circus acrobatic act, dancing in a Kojak-themed nightclub in front of a giant portrait of Telly Savalas, or making love with passionate abandon to her beastly boyfriend Sergio, she's utterly captivating.  You can't blame Javier for being obsessed with her to the point of having heated delusions in which she appears as a shimmering religious icon.

The film is technically dazzling from the direction and photography all the way to a heart-pounding score by Roque Baños.  The great SPFX include lots of well-done CGI and green screen culminating in a thrilling cliffhanger climax atop a towering monument with Javier and Sergio doing battle over their mutual love Natalia.  The sequence owes quite a bit to films such as THE CROW, BATMAN, and a few others that may come to mind while watching it, with one sweeping camera move after another producing vertigo-inducing thrills as the story builds to its peak. 

The DVD from Magnolia's Magnet label is in 2.35:1 widescreen with English and Spanish 5.1 soundtracks.  Subtitles are in English.  Extras consist of international and U.S. trailers and the featurettes "Making of The Last Circus", "Behind the Scenes Segments", and "Visual Effects."  The latter reveals an extent of green-screen usage throughout the film that I was unaware of while watching it. 

One of the most welcome surprises of my recent viewing experience, THE LAST CIRCUS is a mad rush through a thoroughly skewed adventure bursting with goodies for the eyes and the mind.  You may not like it as much as I did, but I can't imagine anyone being bored by it.

THE LAST CIRCUS -- DVD Review by Porfle

THE GREATEST SHOW ON EARTH (1952) -- Movie Review by Porfle

 

Originally posted on 7/26/21

 

Currently watching: I usually don't care that much for circus movies, but producer/director Cecil B. DeMille's blustery, bloated, bombastic, and at times downright monstrous THE GREATEST SHOW ON EARTH (1952) eventually won me over.

DeMille clearly did care for circus movies--enough, at least, to make this the most spectacular big top epic ever, with the full participation of the Ringling Brothers-Barnum & Bailey Circus, the best outfit of its kind ever to tread the sawdust.

It's also packed with dozens, perhaps hundreds of actual circus performers (including Emmett Kelly), making it a three-ring extravaganza that barely lets up for its entire two-and-a-half hour running time. Even Hopalong Cassidy makes an early appearance.

 

The director's sentimental streak for the circus life is expressed in all the cutaways of wide-eyed kids, wonderstruck by the spectacle before them as they gorge themselves on cotton candy and other treats even as their adult companions can be seen reliving their own childhood joy.

What really drives this film, however, is the behind-the-scenes drama. Charlton Heston is awesome as the no-nonsense boss, Brad, who dresses like Indiana Jones and drives the performers and roustabouts to always push themselves to produce the best show possible despite all odds.

The absolutely indefatigable Betty Hutton has one of her most energetic roles as trapeze star Holly, driven to risk her life nightly when another trapeze master, roguish French superstar Sebastian (Cornel Wilde), joins the show and competes with her for the center ring. Both perform their increasingly dangerous stunts without a net, with inevitably tragic results.

 

Also filling out a wonderful cast are Gloria Grahame as elephant trainer Angel, Holly's rival for Brad's affections; exotic Dorothy Lamour as an emotionally unpredictable glamour girl; and Lyle Bettger and Lawrence Tierney as criminal types whose dastardly schemes threaten both the circus and the very lives of its people. (Keep a sharp eye out for a great dual cameo appearance by two very familiar stars.)

Last but not least is Jimmy Stewart, a clown who hides his identity beneath layers of greasepaint due to a dark secret in his past that will return to haunt him at a crucial moment. His character stays in the background for most of the film but comes to the forefront in a big way during the finale.

This occurs when a spectacular train wreck spells instant disaster for the circus as DeMille pulls out all the stops. The miniature special effects are great fun here, and so are the full-scale practical effects and stunts, replete with escaping wild animals and a number of grievous injuries among the tightly-knit circus family.

 

 

Till then, however, DeMille himself does an impressive juggling act as he keeps all the various subplots up in the air. Some are of the romantic variety, while others focus on the performers' egos as well as the evil forces that are conspiring to bring ruin to the show.

It's all a dizzying mish-mash of melodrama, with plenty of corny dialogue and gushing sentiment, and somehow it all works when the viewer settles in and becomes acclimated to the atmosphere DeMille has so feverishly created in what was evidently one of his most heartfelt productions (which he himself narrates in solemn tones just as he did his later epic THE TEN COMMANDMENTS).

Sprawling, colorful, eye-pleasing, and delightfully old-fashioned, THE GREATEST SHOW ON EARTH is pure pleasure for anyone who wants to put their minds on hold and let one of Hollywood's greatest showmen entertain them for a few hours.

THE GREATEST SHOW ON EARTH (1952) -- Movie Review by Porfle