In 1949, former concentration camp inmate and Berlin native Hans Muller, immigrates to Israel where, due to psychological problems, he can't adjust to peacetime life.
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Title: The Juggler (1953)
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Cast
| Complete credited cast: | |||
| Kirk Douglas | ... | Hans Muller | |
| Milly Vitale | ... | Ya'El | |
| Paul Stewart | ... | Detective Karni | |
| Joseph Walsh | ... | Yehoshua Bresler (as Joey Walsh) | |
| Alf Kjellin | ... | Daniel | |
| Beverly Washburn | ... | Susy | |
| Charles Lane | ... | Rosenberg | |
| John Banner | ... | Emile Halevy | |
| Richard Benedict | ... | Police Officer Kogan | |
| Oskar Karlweis | ... | Willy Schmidt | |
| Rest of cast listed alphabetically: | |||
| Ralph Moody | ... | Mukhtar (scenes deleted) | |
Edit
Plot Summary
|
Plot Synopsis
Storyline
Hans Muller is a Jewish refugee from Germany. Relocating to Israel after World War II, he can not overcome the psychological effects of the war. After attacking a policeman, Hans becomes a fugitive, traveling through Israel with a teenage boy. Written by Jeanne Armintrout <jeannee@uwyo.edu>
Taglines:
The story of a man of passions !Parents Guide:
Add content advisory for parents »
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See full technical specs »
Details
Country:
USALanguage:
EnglishRelease Date:
5 May 1953 (USA) See more »Also Known As:
El malabarista See more »Company Credits
Show more on
IMDbPro »
Technical Specs
Runtime:
Sound Mix:
Mono (Western Electric Recording)Color:
Black and WhiteAspect Ratio:
1.37 : 1
Edit
Hans Muller: [softly] Hans Muller
Registration Official at Haifa: You have to speak louder
Hans Muller: HANS MULLER's my name
Registration Official at Haifa: A little softer please. Place of birth?
Hans Muller: Germany... Munich... Beautiful city
Registration Official at Haifa: Occupation before the war?
Hans Muller: You wouldn't believe me
Registration Official at Haifa: I'll believe anything
Hans Muller: I was a juggler.
[...]
See more »
Did You Know?
Trivia
Kirk Douglas had a severe argument on the set with director Edward Dmytryk because he - Douglas - had to stay too long on the set for the close up shooting. But Douglas eventually apologies to his director by sending him a large box of cigars and bouquets of flowers. See more »Quotes
Registration Official at Haifa: Name?Hans Muller: [softly] Hans Muller
Registration Official at Haifa: You have to speak louder
Hans Muller: HANS MULLER's my name
Registration Official at Haifa: A little softer please. Place of birth?
Hans Muller: Germany... Munich... Beautiful city
Registration Official at Haifa: Occupation before the war?
Hans Muller: You wouldn't believe me
Registration Official at Haifa: I'll believe anything
Hans Muller: I was a juggler.
[...]
See more »
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KIRK DOUGLAS struggles to forget the horrors of a concentration camp in THE JUGGLER, another one of Stanley Kramer's serious socially conscious films of the '50s. Unfortunately, the end result is a film that doesn't really connect with its target audience despite a solid performance by Douglas as the troubled Jew from Israel unable to overcome his fear and bitterness.
Unfortunately, Kramer had a habit of assigning George Antheil to score his films. Antheil contributes another inappropriate score heavily accenting any melodramatic moment that points up Kirk's anguish, much the way he did in Kramer's NOT AS A STRANGER. It didn't work there and it doesn't work here, especially during the "escape" scene where the music reaches a frenzied fever pitch of discordant notes.
It's hard to fully sympathize with Douglas' tormented character and that is the film's chief handicap. As the man tracking down the fugitive, PAUL STEWART does his usual workmanlike job. Trouble is, there's an almost documentary feel to the story and its pivotal character is never fully fleshed out, remaining somewhat of an enigma despite Douglas' good performance. When romance comes into the story with the entrance of MILLY VITALE, Douglas' character softens a little under her compassionate care.
Some vivid glimpses of Israel, circa 1949, and good location photography gives the story an authentic air, but the story values are never more than ordinary and the total effect is bland.
Worthwhile mainly for Kirk Douglas fans, it fails to make the impact intended as a serious study of a man haunted by prison camp memories.