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The Big Show (1961)

Approved | | Drama | 14 July 1961 (West Germany)
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Cast overview, first billed only:
Hillary Allen
Josef Everard
Bruno Everard
Klaus Everard
Carlotta Martinez
Eric Solden
Carol Christensen ...
Garda Everard
Kurt Pecher ...
Hans Everard
Teresa Vizzini
Fredrik Everard
Pietro Vizzini
Judge Richter
Philo Hauser ...
Mariza Tomic ...


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The BIG Spectacle! The BIG Excitement! The BIG Drama! See more »




Approved | See all certifications »




Release Date:

14 July 1961 (West Germany)  »

Also Known As:

Diabos do Circo  »

Filming Locations:

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:

(Westrex Recording System)


Aspect Ratio:

2.35 : 1
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Did You Know?


The last of three movies written by screenwriter Philip Yordan, based on the novel, "I'll Never Go Home Again," by Jerome Weidman. The other two were House of Strangers (1949) with Edward G. Robinson, and Broken Lance (1954), with Spencer Tracy (for which Yordan won an Oscar for Best Story). See more »


Version of The 20th Century-Fox Hour: The Last Patriarch (1956) See more »


Tritsch Tratsch Polka, Op. 214
Music by Johann Strauss
Played during the opening credits
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User Reviews

Big Top excitement takes a backseat to family melodramatics...
1 August 2008 | by (las vegas, nv) – See all my reviews

Reworking of "House of Strangers" has Nehemiah Persoff in the Edward G. Robinson role of a widower patriarch, this time a demanding, domineering circus owner who keeps his sons and one daughter tightly under this thumb. Cliff Robertson, who keeps calling Persoff "Pup-puh", takes the rap for Dad once a tragedy strikes; shady sibling Robert Vaughn assumes control of the business after Robertson is sent to prison (what Vaughn plans to do with the circus isn't really clear, except that is sounds like a sell-out). Two sideline romances are much more interesting than the family conflicts, and Persoff is grueling and merciless while criticizing his children (this Daddy Dearest is hardly a sympathetic character, though I'm pretty sure we're meant to feel something for him in the final reel). The circus asides are given surprisingly short shrift in favor of the melodramatics, which are both over-the-top and stilted. Good cinematography helps quite a bit, as does a fine, non-showy performance by Esther Williams as a wealthy woman in love with Robertson. ** from ****

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