To ensure a full profitable season, circus manager Brad Braden engages The Great Sebastian, though this moves his girlfriend Holly from her hard-won center trapeze spot. Holly and Sebastian begin a dangerous one-upmanship duel in the ring, while he pursues her on the ground. Subplots involve the secret past of Buttons the Clown and the efforts of racketeers to move in on the game concessions. Let the show begin! Written by
Rod Crawford <email@example.com>
Charlton Heston was driving through the Paramount Pictures lot when he spotted Cecil B. DeMille, who he had never met. Heston waved. DeMille was so impressed by Heston's wave he made inquiries that ultimately led to Heston being cast as Brad in this film. This was only Heston's third film and it skyrocketed him to fame. One fan wrote a letter to DeMille on how much she enjoyed the movie and commented, "And I'm surprised how well the circus manager [Heston] worked with the real actors." Heston thought it was one of the best reviews he ever received. See more »
When Klaus is seen waving to stop the second section as the engine speeds towards him, the right Cylinder on the Locomotive are discharging steam. When Klaus' car is hit by the locomotive, there is no steam in sight. As a side note, the left Cylinder cock is not discharging steam, in fact both would very quickly alternate on and off. See more »
You always have a smile for that high-flying peacock.
Well, what do you want me to do, cry over him?
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It constantly amazes me that people carp that this won best Picture, as though no movie before or since ever won when maybe they shouldn't have. It was a big picture, it had a great story, it gave a lot of bang for the buck and that has always been a factor in grabbing the Oscar. It does seem a bit dated to us now, used to high flying special effects, different acting styles, and quick cut editing, instead of letting the scene play out as it so often does here, but it's such a great story. The circus itself is a character and the way Demille used the audience to make them seem so individual is wonderful. And I'm not just referring to the Hope/Crosby cameo. Remember the fat guy with the kid scarfing down the ice cream laughing his head off while the kid looked confused? You could tell he was reliving his childhood and he became EveryMan to us with only seconds of screen time. That's mastery. The integration of the real circus people with the actors was seamless and if nothing else this movie captures a time when the circus was really a circus. Carp all you want, guys. But I think you may be too spoiled by ultra realism to appreciate the subtler gems in this very respectable film.
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