Watching "The Greatest Show on Earth" recently I was struck by a sense of déjà vu as I realised just how close the plot is to that of another circus drama, "The Big Circus". Both films feature the following elements:-
An opening scene in which the circus management meet with the show's financial backers and it emerges that the business is in trouble.
A tough and unsentimental but honest and decent circus manager as the main character (played here by Charlton Heston in one of his earliest starring roles, and by Victor Mature in "The Big Circus").
A clown whose smiling face hides a tragic or guilty secret. (The character is played here by James Stewart, who is never seen without his make-up).
A mysterious saboteur intent on ruining the circus. (His motives are, however, different in the two films. In "The Big Circus" he is in the pay of an unscrupulous business rival. Here he is a dishonest sideshow operator bent on revenge after being sacked for defrauding customers).
A train crash.
A stoical the-show-must-go-on philosophy, taken to absurd lengths in both films.
We might today bemoan Hollywood's inability to come up with original story lines, but things were not necessarily any better in the fifties. I should, however, point out that "The Greatest Show on Earth" was the earlier of the two films by several years, so the responsibility for any plagiarism lies with the makers of "The Big Circus", not with Cecil B. DeMille.
The story of "The Greatest Show on Earth" is a relatively simple one; much of the responsibility for the film's long running time lies with its lengthy documentary sequences describing how real-life circuses operated. The circus featured in this film, Ringling Bros. and Barnum & Bailey Circus, is a real one, and many of their acts are featured. ("The Big Circus", by contrast, was about a fictitious circus). DeMille himself acted as narrator for these sequences, describing the circus's operations in some rather purple prose. ("A fierce, primitive fighting force that smashes relentlessly forward against impossible odds: That is the circus").
The main plot line involves a love-triangle between the circus manager Brad Braden, his girlfriend Holly, one of the show's trapeze artists, and another trapeze artist, The Great Sebastian, who has a reputation for arrogance and for being a successful womaniser. At first Holly and Sebastian, who are competing for top billing, loathe one another, but later an attraction grows up between them, and Holly finds herself torn between Brad and Sebastian. The triangle becomes first a quadrilateral then a pentagon when Angel, a female elephant trainer, also falls in love with Brad, arousing the passionate jealousy of her boyfriend Klaus. There are subplots involving the mysterious Buttons the Clown and Harry the dishonest showman who is in league with gangsters.
The film was a huge success at the box office and was popular with many critics; Bosley Crowther called it a "lusty triumph of circus showmanship and movie skill" and a "piece of entertainment that will delight movie audiences for years", Its reputation, however, has declined over the years, largely because it was a victim of its own success. Film buffs have been unable to forgive it for winning the Academy Award for Best Picture ahead of revered classics like "High Noon" or "Singin' in the Rain", and it is regularly voted among the contenders for "Worst Ever Best Picture".
"The Greatest Show on Earth" is not in my view a film in the same class as "High Noon", "Singin' in the Rain", or some of the great "Best Picture" winners from the fifties such as "From Here to Eternity", "On the Waterfront" or "Bridge on the River Kwai". "High Noon" was a victim of politics- its producer and screenwriter Carl Foreman's communist sympathies had alienated the more conservative elements in Hollywood- and of the Academy's long-standing dislike of Westerns. (1952 was also the year in which John Ford won his record fourth "Best Director" Oscar; not one of those awards was for a Western, the genre with which he is most closely associated). As for "Singin' in the Rain", that is a film whose reputation has grown over the years; it was very much under- appreciated in its day and was not even nominated for "Best Picture" in 1952.
And yet I would not really regard this as a serious contender for "Worst Ever Best Picture"; the horribly mawkish "Terms of Endearment" would be my nominee for that particular accolade, with the likes of "Gentleman's Agreement" (winner for reasons of political correctness, or its forties equivalent) and "Mrs Miniver" (winner for reasons of patriotic sentiment) also in the running. "The Greatest Show on Earth" certainly lacks any great acting performances- Heston, Stewart and Gloria Grahame were all much better elsewhere than they are here- and the plot is not particularly original. As a spectacular piece of film-making, however, it is really rather splendid. DeMille is able to endow a film on a modern subject with something of the grandeur he brought to his Classical and Biblical epics. To my mind Bosley Crowther's verdict still rings true today. 7/10
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