Since its release, The Greatest Show on Earth has become a
staple on critics’ personal lists citing the worst films to have won the Oscar
for Best Picture. Not that one should always bend to the winds of the general
society of film critics, but in the case I’m inclined to tip my hat in
acquiescence to the professionals in this case. It’s not without a modicum of
irony that The Greatest Show on Earth has become tethered to this dubious
distinction because it retains many of the standard qualities befitting a Best
Picture caliber film: It’s full of pageantry and spectacle, tension and
romance, suspense and action, and all of the highest order. So where exactly
did things go wrong? Unfortunately, it felt as though it placed a little too
much concentration on all of those elements, and not enough on the ones that
truly matter, such as plot and character development. The end product is a
paradox, being an overstuffed epic that is generally hollow and empty.
Directed by the always ambitious and visionary Cecile B.
DeMille, The Greatest Show on Earth secured five Academy Award nominations,
adding to its troupe two Oscars, including the prize for Best Picture in 1952. The
film marked DeMille’s only competitive victory at the Oscars, leading many to
theorize that Academy voters considered this to perhaps be their last chance to
honor DeMille, thus accounting for the film’s ability to take home the grand
prize over fellow nominated classics such as The Quiet Man, High Noon and
Singin’ in the Rain. But whatever the reason propelling it to victory, I think
The Greatest Show on Earth stands as an example of a Best Picture winning film
that is a reflection of its moment in time, like Going My Way or You Can’t Take
it with You. For that reason, its Oscar glory has subsequently withered on the
vine.
As its title suggests, The Greatest Show on Earth is set in
the world of the Ringling Bros. and Barnum & Bailey circus. The center ring
of the film’s plot focuses on Betty Hutton and Cornel Wilde as competing
trapeze artists who push each other to the edge in their bids to garner the
most oohs, awes and applause. On the ground, they form two points of an obtuse
love triangle, completed by the circus’ no-nonsense manager, played with steely
resolve by Charlton Heston. Several other supplementary subplots occur in the
peripheral rings with various members of the circus gang, most notably one
involving the circus’ beloved clown Buttons, played by Jimmy Stewart.
In terms of visuals, there can be no argument that The
Greatest Show on Earth is a shower of sequins, dazzling the viewer with a
kaleidoscope of costumes, curiosities and conviviality. The film features
several actual circus performers, who are all seemingly given their moment in
the spotlight, whether it is the grand elephant ballet or the woman spinning an
oversized ball on the soles of her feet. Not only are these moments
entertaining to watch, but they also impart a certain sense of fascination in
terms of seeing a somewhat old-fashioned form of entertainment near the height
of its popularity. In fact, for considerable stretches of the film, The Greatest
Show on Earth takes on an almost documentary-like tone, as several scenes
present various performances in a single, unedited take. Further enhancing this
mood is the insider, observatory view the film captures regarding such aspects
as the life of a circus performer and the sheer logistics of packing up and
moving the Big Top from city to city.
It’s clear that The Greatest Show on Earth is DeMille’s valentine
to the circus. His intent with this film seems to be channeling his love and
respect for the old past time by preserving the artistry and spectacle of it on
celluloid for generations to enjoy. In a way, it’s endearing and compelling to
watch what could arguably be called a really, really big passion project. But I
think in trying to craft this film, DeMille is juggling too many plot lines,
characters and other elements that it became inevitable that something would be
left by the wayside. Unfortunately, in this case it’s the narrative and the
characters that become the victims, as they never really achieve a level of
depth and complication that even begins to approach significant and meaningful.
The problem with the story is that DeMille ultimately sacrifices form over
content. As I mentioned earlier, the film takes frequent and prolonged detours
away from the story in order to put the circus on full display. It felt similar
to The Great Ziegfeld when that film took endless amounts of time to showcase
the Ziegfeld Follies in all of their feathered splendor. The resulting problem
in The Great Ziegfeld is the same one experienced by The Greatest Show on
Earth: The devotion of too much screen time in showcasing the circus creates a
serious imbalance, killing any attempt at plot momentum, which ultimately
prevents it from being able to gain any real traction.
One of the sour fruits of this situation is that the actors
are left with a script that leaves them little material to work with, causing
many of the performances to feel overly melodramatic and superficial. This
negative effect is on full display, especially in the forms of the two sparring
trapeze artists played by Betty Hutton and Cornel Wilde. The tone of their
acting is exaggerated and overly expressive; a style that feels more appropriate
for the theater or a silent film. Hutton in particular felt overly cartoonish
and almost childish to me in several scenes, specifically when she is engaged
in her soapy internal tug-of-war in deciding whom it is she truly loves, which,
unfortunately, is for a large swath of the film. It’s a shame that the script
didn’t offer Hutton, Wilde and the rest of the principals a broader landscape
on which to roam because it could have afforded a fascinating look into the
emotional, mental and physical pressures rooted in touring with a circus. In
the case of Hutton’s character, the interest factor is heightened and full of
complex potential, stemming from the fact that she is a woman struggling for
equality in a male dominated arena. More attention and exploration into that
dynamic could have yielded a more multi-dimensional study into the endeavor of jamming
social molds.
A footnote complaint
for me about this film is the character of Buttons the clown. I just could
never get on board with the plight of this pitiful clown and take him
seriously. Maybe this is due to watching a film version of Stephen King’s “It”
at young age and forever being freaked out by clowns. But nevertheless, I grew
up in a time where clowns have generally been associated with perverts or
predators. It seems like every representation of a clown in modern popular
culture is negative, from the Joker in The Dark Knight to the drunken birthday
clown in Uncle Buck. As I was watching The Greatest Show on Earth, it made me
realize how deeply this view of clowns has taken root in my psyche, because not
even the lovable Jimmy Stewart could alter my feeling towards clowns with his heroic
and redemptive turn as poor Buttons.
In the end, while the circus may actually be the greatest
show on earth, The Greatest Show on Earth is not the greatest film on earth. It
is far from it, a fact made all the more obvious given that some of its fellow
nominees in the Best Picture category have proven themselves victorious
opponents of time. Perhaps the fate of The Greatest Show on Earth was resigned
to be an unremarkable one, given the decline of the circus’ popularity since
the film’s release. It’s a difficult task for a film to retain classic status
when its subject matter feels dated and slow, particularly in comparison with
more evolved versions of the circus, like Cirque de Soleil. This serves to only
enhance the core mistake made by The Greatest Show on Earth, which was to make
its characters and plot secondary and underdeveloped. If a film has characters
and a story that people care about, it won’t have to work so hard to keep its
membership in the classic film club.
Favorite Line: During
the film’s establishing shots, Cecile B. DeMille delivers stirring and
thundering narration of the circus, making it a thrilling and captivating
speech that sets up the film with an appropriate flare and style.
"We bring you the circus — that Pied Piper whose magic
tunes lead children of all ages, from 6 to 60, into a tinseled and spun-candied
world of reckless beauty and mounting laughter; whirling thrills; of rhythm,
excitement and grace; of daring, enflaring and dance; of high-stepping horses
and high-flying stars.
"But behind all this, the circus is a massive machine
whose very life depends on discipline, motion and speed . . . a
mechanized army on wheels that rolls over any obstacle in its
path . . . that meets calamity again and again, but always comes
up smiling . . . a place where disaster and tragedy stalk the
Big Top, haunt the backyards, and ride the circus rails . . .
where Death is constantly watching for one frayed rope, one weak link, or one
trace of fear.
"A fierce, primitive fighting force that smashes
relentlessly forward against impossible odds: That is the circus. And this is
the story of the biggest of the
Big Tops . . . and of the men and women who fight to make it — The Greatest Show
on Earth! "
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