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Polly of the Circus (1917)

When circus aerialist Polly Fisher is injured, she is taken to the nearby home of minister John Hartley. The two fall in love and marry secretly. But when the news leaks out, the minister ... See full summary »
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Cast

Cast overview, first billed only:
... Polly
... John Douglas the Minister
... Toby the Clown
Wellington A. Playter ... Big Jim, Boss Canvasman
George S. Trimble ... Barker and Owner of the Show
... Mandy
... Hasty, Her Lesser Half
... Deacon Strong
Lucille Southerwaite ... The Deacon's Daughter (as Lucille Satterthwaite)
Jack B. Hollis ... Deacon Elverson
Helen Sallinger ... Mrs. Elverson
Isabel Vernon ... Sallie
Viola Compton ... Jane, the Widow
John Carr ... Jim
Stephen Carr ... John
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Storyline

When circus aerialist Polly Fisher is injured, she is taken to the nearby home of minister John Hartley. The two fall in love and marry secretly. But when the news leaks out, the minister loses his pastorate over disdain by the parishioners for Polly's background as a performer. Polly must decide whether to stay with the man she loves or leave him for the good of his calling. Written by Jim Beaver <jumblejim@prodigy.net>

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Plot Keywords:

circus | horse | based on play | See All (3) »

Genres:

Drama

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Details

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Language:

Release Date:

9 September 1917 (USA)  »

Also Known As:

Polly från cirkus  »

Filming Locations:

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Box Office

Budget:

$250,000 (estimated)
See more on IMDbPro »

Company Credits

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Technical Specs

Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

This Goldwyn Pictures Corporation film was the first to feature as its logo Leo the Lion's roar, which would later pass to MGM when Goldwyn merged with two other companies. The logo was designed by Howard Dietz. See more »

Connections

Version of Polly of the Circus (1932) See more »

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User Reviews

 
Who Doesn't Like the Circus?
30 May 2013 | by See all my reviews

This early Goldwyn picture is an ambitious piece that intended to nurture not only the corporation, but its star, Mae Marsh, recently poached from D.W. Griffith. It is a pretty good effort, with its Mark Twain-style opening, although the many titles and overt sentiment drag a bit until Lilian Ward falls from the high wire.

After all the kids grow up, a decent plot involving ministers, the circus and a well-photographed horse race ensue and matters are satisfactorily resolved at the end. The modern viewer may have some issues, like the white actors in blackface, but Mae Marsh is her charming, fluttery self. It was undoubtedly an excellent money-maker for the Goldwyn Corporation (later MGM) and a boost in the careers of not only the uncannily named Edwin Hollywood, but cinematographer George W. Hill, who a dozen years later would be MGM's go-to director for rough fare.


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