The Greatest Show on Earth

This is my favorite Cecil B. DeMille picture and it rightfully deserves it's title. The cast is well cast. Heston makes a fine circus manager and a perfect "don't take nothing from nobody" type of guy when it comes to dealing with local gamblers. Cornell Wilde is perfect as the typical heart-throb of a trapezist. Betty Hutton is good as the daring young star fighting for the center ring. Last, but certainly not the least, James Stewart is wonderful as the lonely clown with a terrifying secret (I will not give it away!!! See the movie!!!). Cecil was a man of tremendous persona with a hunger for showcasing spectacle by means of careful, intense, and thorough research. He achieves amazing success in portraying (to the best of his ability of the times) the most realistic circus acts without the use of raw footage, and covering the stories behind the characters involved. The thing that really moves everything along though, is the musical score. Two words on that GOOD GOD!!! The music will make you want to go to the circus, even if you didn't like this picture. For those of you who didn't like this picture, why not go to the circus instead? You may be entertained to the point that you'll end up silencing your bad reviews. I'm not saying you have top like this picture, but if you haven't seen it yet, and it's because of the certain bad reviews it got from some people, you're really going to miss something.

"The Greatest Show on Earth" is a good movie and it's entertaining enough, it's just not an Oscar-winning caliber movie. As other reviewers have noted, this film was probably given its Best Picture Oscar as a kind of life-time achievement award to Cecil B. DeMille. It wasn't that the Academy felt that they had unjustly snubbed DeMille in the past for any specific film, it was just that he had always made those kind of epic cast-of-thousands types of pictures that drew in the audiences but that rarely won Oscars. Plus, a large body of DeMille's work had been done before the Academy Awards even came into existence in 1927. The whole thing seems especially unjust when you look at the competition that year. Two of the other nominees - "High Noon" and "The Quiet Man" are considered unique and classic to this day. Also, there is a film in the top 10 of AFI Best Films from that year that didn't even get nominated for best picture - Singin' in the Rain - which is arguably the best musical film ever made. It's rather ironic that just four years later the Academy could have probably awarded DeMille more legitimately when he made his last movie, the epic "The Ten Commandments", in 1956.

This movie is basically a documentary on how the Ringling Brothers circus operated in the early 50's, and large chunks of film are taken up showing how the Big Top was assembled, the manual labor involved, how the entire circus - including wild animals - was transported via rail, and basically just all of the hard work that went on behind the scenes. There is also a pretty spectacular scene near the end of the film involving the two trains as they are transporting the circus from one town to another. I say "was" because the circus as it is portrayed in this movie closed down and ceased to exist in 1956. The truth is that the Ringling Brothers circus never fully recovered financially from the double whammy of the Great Depression and a fatal fire that killed over 100 people in Hartford, Connecticut in 1944 and thus was in the process of failing even when this movie was made. The plot of the movie is very thin, the main thread being an uninspired love triangle involving the two stars of the trapeze act, Holly and the Great Sebastion, played by Betty Hutton and Cornel Wilde respectively, and the managing boss of the traveling show, Brad Braden, played by Charleton Heston. The subplots include an elephant trainer who is obsessed over a girl in the show who doesn't care for him, some small-time mobsters whose crooked games get thrown off the lot by Brad, and "Buttons" the clown, played by Jimmy Stewart, who never takes off his makeup and who seems to have a mysterious past. All of these plot lines are just there to hold the documentary part of the film together and also as a backdrop for all of the circus acts that are numerous and quite spectacular to behold, especially the acrobatic acts. Quite honestly, one-fourth into the movie you can see the outcome of the dramatic portion of the movie coming at you from a mile away. This makes the fact that this movie won Best Motion Picture Screenplay an even odder decision than the Best Picture award.

There is some interesting trivia involving the film. Famous clown Emmett Kelly can be seen at one point in the film without makeup - a fact that Mr. Kelly was not happy about. Also, Dorothy Lamour has a supporting role in this film, and during one of her musical performances in the show the camera pans to the audience -as it often does in this film - but this time you get a brief glimpse of Bing Crosby and Bob Hope enjoying the show. The inside joke here is that Lamour, Crosby, and Hope were the costars of the popular series of "Road to ..." movies of the 40's and 50's.

I have seen this film several times and each time I am more impressed. I don't look at a film to rate the acting, but rather I look at a film for its entertainment qualities. This film shows a behind-the-scenes look into circus life that most people would never have a chance to see. The circus acts shown are typical and entertaining, the characters have some qualities that are not always seen in a movie of this magnitude. I am always interested in special effects and how they are used in a film. The train wreck is obviously done with models but it is so well done, it rates mention. There are many considerations in making special effects seem real and all of those are carefully used in this film. Of course, the circus acts were NOT done with special effects and are very entertaining. If you have not seen this picture, please do so with an open mind and expect to be impressed.

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.

Brad: "Women are poison!; Angel: It's a wonderful death"

This one has it all. Even as Show's top competition for that year's Oscar, Quiet Man, is a personal favorite, I take no issue with the Academy's choice for best picture (52). The guts are glorious in their colorful pageantry, charming odditites, romantic wrangle, heroic animals, clever dialogue, subtle to serious humor, cute crowd vinettes (Hope Crosby), strong sentiment, terrific action (a train wreck so exciting it makes Fugitive's "Casey Jones" almost pale in comparison) & moral message on mercy (Dr Buttons) that doesn't feel moralizing. Maybe the greatest director on the planet, DeMille provides narration throughout, opening wide a window into the joy, drama, tireless teamwork and sheer enormity that was the circus, truly the greatest show on earth (3.5/4).