The Circus is probably Chaplin's most underrated film. It is (easily) one of the funniest movies ever, and the inventiveness of such shots as the Mirror Maze scene and the closing sequence are nothing less than brilliant. What separates Chaplin from other comedian filmmakers is his ability to evoke a sense of pity and/or sympathy for his character. How can you watch the closing scenes of this film and, even after all of the laughter, NOT sense a bit of melancholia welling up in your heart? Truly one of the greats.
351 Reviews
One Of Chaplin's Best; Certainly Underrated
ccthemovieman-15 April 2006
I enjoyed this a lot more the second time when I could see it on a very clear DVD print. I don't know why that would make a difference with the story, but it did as I found it very good for the entire distance, although that's just a scant 69 minutes.
In the story, Charlie Chaplin does his normally-great physical slapstick so well that he accidentally becomes a hit at the circus, which is run by a nasty man (Allan Garcia) who regularly beats his sweet step-daughter, played by a very pretty Merna Kennedy. Charlie, of course, gets smitten by her and comes to her rescue.
This movie has a different kind of ending that what you'd normally see for a comedy but it's inspiring as Chaplin performs a noble deed. (However, Kennedy's character is in question as she seems satisfied to marry either of two men. Huh?)
Chaplin's timing and clever slapstick routines never fail to amaze me. Even though silent films aren't seen by many people these days, it's works of art like this that will endure forever. This is not of one of Chaplin's more famous movies.....but it should be. I think it's one of his best.
In the story, Charlie Chaplin does his normally-great physical slapstick so well that he accidentally becomes a hit at the circus, which is run by a nasty man (Allan Garcia) who regularly beats his sweet step-daughter, played by a very pretty Merna Kennedy. Charlie, of course, gets smitten by her and comes to her rescue.
This movie has a different kind of ending that what you'd normally see for a comedy but it's inspiring as Chaplin performs a noble deed. (However, Kennedy's character is in question as she seems satisfied to marry either of two men. Huh?)
Chaplin's timing and clever slapstick routines never fail to amaze me. Even though silent films aren't seen by many people these days, it's works of art like this that will endure forever. This is not of one of Chaplin's more famous movies.....but it should be. I think it's one of his best.
Excellent film.
joseph-a-landy31 January 2011
The Circus was both my first silent film and the first film I've watched by Charles Chaplin. Being my first silent film i thought for sure i would be bored to death, but was i wrong. The film was really funny, made me laugh out loud. The comedy in this film is very different to the comedy in films now a days. Now a days most comedy films are big on the special effects and just lame humor. In the circus the actors have actual talent, they have to be very good at showing there emotion, like facial expressions and things like that.I was amazed on how well the movie was, Charlie Chaplin is great and i hope soon i can get my hands on some more of his films. I almost wish they could make a films like this today just maybe with some color, i think it'd be a great idea.
Charlie of the Sawdust
lugonian1 December 2007
THE CIRCUS (United Artists, 1928) written, produced, directed and starring Charlie Chaplin, is a well-documented gem about circus life, mixing comedy and sentiment in the best Chaplin tradition, ranking this one of his finer yet neglected achievements of the 1920s.
In it, Chaplin plays a tramp who drifts at the midway of the circus after being wrongly accused of a theft and chased by a policeman. His escapades are mistaken as part of the act, which stirs roars of laughter from its audience. Because his circus has not been earning any profits, the ringmaster/owner (Allan Garcia) decides in hiring Charlie as his top attraction. However it is learned that Charlie is only funny whenever he blunders to his viewing public. Charlie soon learns from the abused Merna (Merna Kennedy), how valuable he really is, thus, making demands of quitting to his employer unless he ceases mistreating his stepdaughter, and offers him a higher salary, which he does. All goes well until Rex (Henry Crocker), "King of the High Wire," joins the circus and becomes attracted to Merna, causing Charlie to vie for her affections any which way he can.
With the circus being one of the more famous backdrops of many movie comedians and/or comedy teams ranging from W.C. Fields to Laurel & Hardy, The Marx Brothers to Martin and Lewis, THE CIRCUS stands out more for its ingenious use of difficult gags, comic timing and the effort that went into it to make every gag funny as well as realistically done. Rarely seen since its original theatrical release, THE CIRCUS came into full view again shortly after Chaplin's death in 1977. Newly scored and restored by Chaplin himself in 1968 (as mentioned in the new opening titles), with his singing of "Swing Little Girl" recorded on the soundtrack during the opening credits, my first experience with THE CIRCUS was in 1980 at New York City's Regency Theater, 68th Street and Broadway, where the revival theater (which no longer exists, having been demolished in 1998) paid a tribute to Chaplin with a series of shorts and features, including THE KID (1921), MODERN TIMES (1936) and THE GREAT DICTATOR (1940). Being surrounded by an appreciative audience laughing at a silent film made long ago indicated d THE CIRCUS has stood the test of time and what a comic genius Chaplin was, especially when demonstrating how difficult performing comedy can be as his character finds he has to be funny and isn't, and at the same time showing how poor he is as a comic to the circus staff and how funny he is as a bad comedian to the movie audience. While sitting in the dark movie theater of all ages at the Regency, the biggest laughs occurred during the opening as Chaplin hides from the law inside a fun house surrounded by mirrors and later making a fool out of the rival pickpocket (Steve Murphy) as they each attempt to fool the policeman by pretending to be movable statues; Charlie's encounter with a lion while locked inside the cage; and the biggest topper of all being Charlie doing a tight rope wire act and trying to balance himself while loose monkeys crawl all over him, thus disrupting his act. These same gags obviously brought forth many laughs in 1980 as it did in 1928, and continue to do so today. In between these gags comes pathos, which Chaplin also succeeds without hurting the continuity.
Chaplin staff players regulars such as Harry Bergman as the Clown, and Stanley Sanford as the Head Property lead fine support. Others in the cast include Betty Morrissey as The Vanishing Lady; George Davis as The Magician; John Rand, Albert Austin and Heinie Conklin in smaller roles.
In spite of its true greatness, it's hard to believe how underrated THE CIRCUS has become, not having the appreciation as Chaplin's own masterpieces, THE GOLD RUSH (1925) and CITY LIGHTS (1931), even by Chaplin himself. It's been said that during the making of THE CIRCUS, Chaplin was going through personal problems of his own, including divorce and the passing of his mother. It's even more ironic the elimination of THE CIRCUS from Chaplin's own autobiography published in 1964 while his other works were profiled to great extent, regardless of his nomination as Best Actor and Best Comedy Director by the Academy for 1927-28 awards. At least this has been amended through its reissue throughout the years to a new generation of movie lovers.
Distributed onto video cassette as part of the Chaplin centennial collection in 1989, THE CIRCUS, currently on DVD, made its presence known on television in the height of cable television, notably on the weekly series, "Dead Comics Society" on the Comedy Channel hosted by Kevin Kline around 1989-90, followed by American Movie Classics (1997-2000) and Turner Classic Movies where it made its debut in 2003.
THE CIRCUS, a 70 minute comedy, is a fine study to film students and anyone appreciating and supporting the art of silent comedy. (****)
In it, Chaplin plays a tramp who drifts at the midway of the circus after being wrongly accused of a theft and chased by a policeman. His escapades are mistaken as part of the act, which stirs roars of laughter from its audience. Because his circus has not been earning any profits, the ringmaster/owner (Allan Garcia) decides in hiring Charlie as his top attraction. However it is learned that Charlie is only funny whenever he blunders to his viewing public. Charlie soon learns from the abused Merna (Merna Kennedy), how valuable he really is, thus, making demands of quitting to his employer unless he ceases mistreating his stepdaughter, and offers him a higher salary, which he does. All goes well until Rex (Henry Crocker), "King of the High Wire," joins the circus and becomes attracted to Merna, causing Charlie to vie for her affections any which way he can.
With the circus being one of the more famous backdrops of many movie comedians and/or comedy teams ranging from W.C. Fields to Laurel & Hardy, The Marx Brothers to Martin and Lewis, THE CIRCUS stands out more for its ingenious use of difficult gags, comic timing and the effort that went into it to make every gag funny as well as realistically done. Rarely seen since its original theatrical release, THE CIRCUS came into full view again shortly after Chaplin's death in 1977. Newly scored and restored by Chaplin himself in 1968 (as mentioned in the new opening titles), with his singing of "Swing Little Girl" recorded on the soundtrack during the opening credits, my first experience with THE CIRCUS was in 1980 at New York City's Regency Theater, 68th Street and Broadway, where the revival theater (which no longer exists, having been demolished in 1998) paid a tribute to Chaplin with a series of shorts and features, including THE KID (1921), MODERN TIMES (1936) and THE GREAT DICTATOR (1940). Being surrounded by an appreciative audience laughing at a silent film made long ago indicated d THE CIRCUS has stood the test of time and what a comic genius Chaplin was, especially when demonstrating how difficult performing comedy can be as his character finds he has to be funny and isn't, and at the same time showing how poor he is as a comic to the circus staff and how funny he is as a bad comedian to the movie audience. While sitting in the dark movie theater of all ages at the Regency, the biggest laughs occurred during the opening as Chaplin hides from the law inside a fun house surrounded by mirrors and later making a fool out of the rival pickpocket (Steve Murphy) as they each attempt to fool the policeman by pretending to be movable statues; Charlie's encounter with a lion while locked inside the cage; and the biggest topper of all being Charlie doing a tight rope wire act and trying to balance himself while loose monkeys crawl all over him, thus disrupting his act. These same gags obviously brought forth many laughs in 1980 as it did in 1928, and continue to do so today. In between these gags comes pathos, which Chaplin also succeeds without hurting the continuity.
Chaplin staff players regulars such as Harry Bergman as the Clown, and Stanley Sanford as the Head Property lead fine support. Others in the cast include Betty Morrissey as The Vanishing Lady; George Davis as The Magician; John Rand, Albert Austin and Heinie Conklin in smaller roles.
In spite of its true greatness, it's hard to believe how underrated THE CIRCUS has become, not having the appreciation as Chaplin's own masterpieces, THE GOLD RUSH (1925) and CITY LIGHTS (1931), even by Chaplin himself. It's been said that during the making of THE CIRCUS, Chaplin was going through personal problems of his own, including divorce and the passing of his mother. It's even more ironic the elimination of THE CIRCUS from Chaplin's own autobiography published in 1964 while his other works were profiled to great extent, regardless of his nomination as Best Actor and Best Comedy Director by the Academy for 1927-28 awards. At least this has been amended through its reissue throughout the years to a new generation of movie lovers.
Distributed onto video cassette as part of the Chaplin centennial collection in 1989, THE CIRCUS, currently on DVD, made its presence known on television in the height of cable television, notably on the weekly series, "Dead Comics Society" on the Comedy Channel hosted by Kevin Kline around 1989-90, followed by American Movie Classics (1997-2000) and Turner Classic Movies where it made its debut in 2003.
THE CIRCUS, a 70 minute comedy, is a fine study to film students and anyone appreciating and supporting the art of silent comedy. (****)
Alternately touching and hilarious; one of Chaplin's finest achievements
rmears16 July 2001
Although movie buffs seldom mention `The Circus' in the same breath as Charlie Chaplin's more touted masterpieces (`City Lights,' `Modern Times,' `The Gold Rush'), this film contains some of his best work manifested in a number of ingenious sequences. Chaplin once again dons the role of the tramp, this time having all sorts of adventures (and misadventures) under the big top.
In order to evade the police who suspect him of being a thief, the tramp ducks into a circus tent and acts as if he is part of the show. The cops follow him into the tent and try to apprehend him, with comical results. The crowd goes wild, believing all this was planned ahead of time. The audience's reaction is so strong that the tyrannical circus owner hires him on the spot. When it is discovered that Chaplin cannot be funny intentionally, the owner gives him a job as a prop man, clumsily lugging equipment around the tent as part of the show. Again the crowd roars its approval at his inadvertent antics, and soon the tramp is the circus' main attraction. In the meantime, he falls in love with the owner's daughter, a bareback rider who herself loves the tightrope walker, and romantic complications ensue.
`The Circus' is an all-around Chaplin effort. In addition to playing the lead role, he wrote, directed, produced and edited it, and composed the music as well. It is a meticulous production on all counts, with each sequence choreographed to elicit the maximum capacity of laughter from the audience. The scenes in which the tramp is pursued through a hall of mirrors, trapped inside the lion's cage, and forced to double for the missing tightrope walker stand alongside his finest achievements. The ending sequence is especially heartrending, as many are in his films. Here is a movie to be cherished by all fans of Chaplin, but appreciated even by casual viewers. This is because it achieves a rare blend of comedy and poignancy through appealing, sympathetic characters and with genuine honesty adding a note of realism to counterbalance the clowning.
In order to evade the police who suspect him of being a thief, the tramp ducks into a circus tent and acts as if he is part of the show. The cops follow him into the tent and try to apprehend him, with comical results. The crowd goes wild, believing all this was planned ahead of time. The audience's reaction is so strong that the tyrannical circus owner hires him on the spot. When it is discovered that Chaplin cannot be funny intentionally, the owner gives him a job as a prop man, clumsily lugging equipment around the tent as part of the show. Again the crowd roars its approval at his inadvertent antics, and soon the tramp is the circus' main attraction. In the meantime, he falls in love with the owner's daughter, a bareback rider who herself loves the tightrope walker, and romantic complications ensue.
`The Circus' is an all-around Chaplin effort. In addition to playing the lead role, he wrote, directed, produced and edited it, and composed the music as well. It is a meticulous production on all counts, with each sequence choreographed to elicit the maximum capacity of laughter from the audience. The scenes in which the tramp is pursued through a hall of mirrors, trapped inside the lion's cage, and forced to double for the missing tightrope walker stand alongside his finest achievements. The ending sequence is especially heartrending, as many are in his films. Here is a movie to be cherished by all fans of Chaplin, but appreciated even by casual viewers. This is because it achieves a rare blend of comedy and poignancy through appealing, sympathetic characters and with genuine honesty adding a note of realism to counterbalance the clowning.
"Bring on the funny man"
Steffi_P9 September 2010
When Charlie Chaplin first plods onto screen in The Circus, he has his back to us. Unusual for any other leading man, but Chaplin was such a legendary icon, even now when he was only making one film every few years, his mere outline was enough to announce his presence. But with such a status came a certain weariness, and The Circus is one of a number of pictures in which Chaplin lampoons the whole process that made his name.
A lot of the business in The Circus is about Chaplin's ability to be naturally comical, and the shortcomings of being an employed comedian. It's interesting how, more than any Chaplin picture that came before or after, The Circus seems to be putting us (the audience) into the little tramp's experience. There are a number of point of view shots, and often characters addressing Charlie are virtually staring into the lens, as opposed to the profile shots he usually stuck to. Even the shots in the ring do not give us the perspective of the big top crowd, and instead the camera looks in on the action from the performers' entrance. The camera is always in the sawdust and never the stalls. This is, from its very first scene, clearly a backstage movie. It may seem a subtle shift but Chaplin is certainly drawing us more to focusing on the lives of circus folk and away from thinking of the circus as entertainment. It's notable too that Chaplin's best comedy vignettes occur outside the big top.
It seems Chaplin was increasingly giving larger and more substantial roles to his leading ladies. Oddly however, while Merna Kennedy plays the most fleshed-out female lead of any Chaplin picture to date, she seems less of a focus for the camera, which barely lingers on her. From what we can see she is not bad, but she lacks the calm dignity of Edna Purviance and Georgia Hale, or at least does not get to display such a thing. More reassuringly, there is a decent-sized part for Chaplin regular Henry Bergman as an old clown. Bergman had been a comedy performer for decades, and had even worked in a real circus in his youth, so he certainly knew what this role was about. With some heartfelt facial acting amongst all his usual huffing and puffing about, it is probably his finest performance.
If The Circus is known for anything, it tends to be the very fact that it is not as well known as many of Chaplin's other features. Chaplin himself does not even mention it in his autobiography (the imaginatively titled "My autobiography" – but then again, being the legend that he is, he doesn't need a punchy title to promote his own name). But far from neglecting the work, Chaplin gave it surely his neatest and most delicate update-job when he came to overhaul all his silent features for re-release in the 60s and 70s. Unlike The Kid and A Woman of Paris, from which he cut several scenes, and The Gold Rush, which he all but butchered in 1943, The Circus is left intact. He also treats it to its own theme song, under which the opening credits are inter-cut with shots of Kennedy on the trapeze, creating the most tender and lyrical opening of all his pictures.
A lot of the business in The Circus is about Chaplin's ability to be naturally comical, and the shortcomings of being an employed comedian. It's interesting how, more than any Chaplin picture that came before or after, The Circus seems to be putting us (the audience) into the little tramp's experience. There are a number of point of view shots, and often characters addressing Charlie are virtually staring into the lens, as opposed to the profile shots he usually stuck to. Even the shots in the ring do not give us the perspective of the big top crowd, and instead the camera looks in on the action from the performers' entrance. The camera is always in the sawdust and never the stalls. This is, from its very first scene, clearly a backstage movie. It may seem a subtle shift but Chaplin is certainly drawing us more to focusing on the lives of circus folk and away from thinking of the circus as entertainment. It's notable too that Chaplin's best comedy vignettes occur outside the big top.
It seems Chaplin was increasingly giving larger and more substantial roles to his leading ladies. Oddly however, while Merna Kennedy plays the most fleshed-out female lead of any Chaplin picture to date, she seems less of a focus for the camera, which barely lingers on her. From what we can see she is not bad, but she lacks the calm dignity of Edna Purviance and Georgia Hale, or at least does not get to display such a thing. More reassuringly, there is a decent-sized part for Chaplin regular Henry Bergman as an old clown. Bergman had been a comedy performer for decades, and had even worked in a real circus in his youth, so he certainly knew what this role was about. With some heartfelt facial acting amongst all his usual huffing and puffing about, it is probably his finest performance.
If The Circus is known for anything, it tends to be the very fact that it is not as well known as many of Chaplin's other features. Chaplin himself does not even mention it in his autobiography (the imaginatively titled "My autobiography" – but then again, being the legend that he is, he doesn't need a punchy title to promote his own name). But far from neglecting the work, Chaplin gave it surely his neatest and most delicate update-job when he came to overhaul all his silent features for re-release in the 60s and 70s. Unlike The Kid and A Woman of Paris, from which he cut several scenes, and The Gold Rush, which he all but butchered in 1943, The Circus is left intact. He also treats it to its own theme song, under which the opening credits are inter-cut with shots of Kennedy on the trapeze, creating the most tender and lyrical opening of all his pictures.
Perfect Chaplin, Perfect Comedy...
secondtake11 January 2011
The Circus (1928)
Charlie Chaplin had a string of silent feature films in the 1920s that were and are his classics, ending with a couple of amazing capstones in the 1930s. And though he is famous for having carried on the silent tradition well beyond everyone else (understandably, given his style), this one finished shooting only three weeks after the first talkie, so this is a true cusp film. And it took two years to plan and film (starting in 1926).
And in some ways this is the best of them all for the simple reason that it avoids that occasional cloying sentimentality that you either love or tolerate in his other classics. It's a pure, light, clever, cinematically sophisticated comedy. And the physical tricks, the timing of certain gags, is breathtaking. It also has a deeply satisfying ending, shot in 1927...which you might see echo of in the last moments of "Being There" with Peter Sellars, from 1999.
"The Circus" is just over an hour and it never flags, never repeats, is never strained. Chaplin had the rare ability to do the most outrageous things and make them seem perfectly plausible--even though we know better. It's partly because he would do dozens of takes, "perserverance to the point of madness," as he said, until it felt right.
A note on the sound. This was a true silent film on its release. In the 1960s and 70s, Chaplin created musical soundtracks, composed by himself (and made edits, as well) for his earlier features. The song sung over the opening credits on the Warner Bros. DVD is Chaplin himself, as an old man, singing a song he composed. It's not really legit, in terms of period (1928), but it feels good. The music is fairly innocuous, but a bit too emphatic at times. Still, it's better than the add-on tracks most silent films get these days, and Chaplin was smart to have paid it attention.
Most of all, this is funny, uncompromised Chaplin genius. Maybe the best way to get introducted to his large body of work. See it!!
Charlie Chaplin had a string of silent feature films in the 1920s that were and are his classics, ending with a couple of amazing capstones in the 1930s. And though he is famous for having carried on the silent tradition well beyond everyone else (understandably, given his style), this one finished shooting only three weeks after the first talkie, so this is a true cusp film. And it took two years to plan and film (starting in 1926).
And in some ways this is the best of them all for the simple reason that it avoids that occasional cloying sentimentality that you either love or tolerate in his other classics. It's a pure, light, clever, cinematically sophisticated comedy. And the physical tricks, the timing of certain gags, is breathtaking. It also has a deeply satisfying ending, shot in 1927...which you might see echo of in the last moments of "Being There" with Peter Sellars, from 1999.
"The Circus" is just over an hour and it never flags, never repeats, is never strained. Chaplin had the rare ability to do the most outrageous things and make them seem perfectly plausible--even though we know better. It's partly because he would do dozens of takes, "perserverance to the point of madness," as he said, until it felt right.
A note on the sound. This was a true silent film on its release. In the 1960s and 70s, Chaplin created musical soundtracks, composed by himself (and made edits, as well) for his earlier features. The song sung over the opening credits on the Warner Bros. DVD is Chaplin himself, as an old man, singing a song he composed. It's not really legit, in terms of period (1928), but it feels good. The music is fairly innocuous, but a bit too emphatic at times. Still, it's better than the add-on tracks most silent films get these days, and Chaplin was smart to have paid it attention.
Most of all, this is funny, uncompromised Chaplin genius. Maybe the best way to get introducted to his large body of work. See it!!
Surprisingly Engrossing
tinyredspoons26 January 2011
Warning: Spoilers
In all honesty didn't expect to be as engrossed by Chaplin's silent film The Circus (1928) as much I actually ended up being. In fact, I believe that it would have not had been as engrossing as it was had there been dialogue present. This is because of the movie's rather romantic leaning, but here audience is spared the endless romantic dribble of a character in love. Instead the movie was able to move constantly forward spurred purely by Chaplin's exaggerated facial and body expressions. The movie also works without sound because Chaplin's "Tramp" character would probably come across as a bit of an imbecile with sound, rather than naive with all of his accidental high-jinks and follies. It is this naive innocence that makes the Tramp so likable, and when he losses Merna at the end, Chaplin's face and defeated body language do more justice to the sad moment than any dialogue with him lamenting her loss could have. The Circus is an altogether enjoyable piece whose rather predictable story-line is kept fresh with Chaplin's charismatic antics.
Minor Chaplin but still essential
MOscarbradley22 July 2018
Despite winning Chaplin an honory Oscar in 1928 "The Circus" isn't really regarded as one of his great comedies and yet it has got some great visual gags as well as a little less sentimentality than some of his later films. Of course, there's still a girl who needs rescuing, in this case from her tyrannical father, and once again he's The Tramp, bringing as much humanity as slapstick to his routines and confirming his status as one of the greatest of all screen actors and not simply a great comic. The circus setting was, of course, his tribute to clowns everywhere so while this may indeed be minor Chaplin it is nevertheless a deeply affectionate picture and an essential part of the Chaplin canon.
This may make you want to run away and join the circus.
lee_eisenberg25 December 2005
Although I didn't actually see the whole movie, "The Circus" is a hoot nonetheless. Charlie Chaplin plays a guy who joins the circus and before too long gets his own act. You'll die laughing in the scenes where he's attached to the rope. I actually watched it on TV while living with a family in St. Petersburg, Russia, and they laughed their heads off just watching him perform his stunts. That shows why these silent comedies were so great: you can laugh even if you don't know what they're saying. It's truly movies like these that make life worth living, and Chaplin remains possibly the greatest comedian in all history. 10/10.
Chaplin's genius alive and well...one of his best...
Doylenf1 February 2007
THE CIRCUS may well be one of the best of Chaplin's silent comedies, especially enjoyable from the point where he inadvertently becomes the hit of the circus when he pinch hits for someone at the last moment. He gets all the audience laughs from that point on--and deserves it. His clowning here is among his most acrobatic, most physical, and at the same time, there's a bittersweet charm to his romance with one of the lovely circus performers--MERNA KENNEDY.
All of the circus stunts are beautifully performed and the story maintains interest as the Little Tramp goes from sudden success to sudden failure--and then back again.
HARRY CROCKER is good as the romantic foil for Merna Kennedy, a tightrope walker whose act is later performed with even more daring results by Chaplin in one of his best acts.
Altogether delightful romp, with the Little Tramp as a lovable scamp!
All of the circus stunts are beautifully performed and the story maintains interest as the Little Tramp goes from sudden success to sudden failure--and then back again.
HARRY CROCKER is good as the romantic foil for Merna Kennedy, a tightrope walker whose act is later performed with even more daring results by Chaplin in one of his best acts.
Altogether delightful romp, with the Little Tramp as a lovable scamp!
Fun & Pathos With Chaplin Under The Big Top
CitizenCaine2 November 2008
Warning: Spoilers
Following the success in the summer of 1925 with the release of The Gold Rush, Chaplin started work on The Circus in 1926. The production, like The Kid, was stonewalled numerous times with various situations, chief among them was a fire at Chaplin studios and divorce proceedings brought on by his second wife: Lita Grey. Chaplin forged on, and The Circus was released in January of 1928. In The Circus, the tramp happens upon a failing circus and inadvertently becomes a huge success when he unknowingly interrupts the show. He befriends a girl, the proprietor's daughter, played by Merna Kennedy in her film debut. The proprietor puts increasing pressure on Chaplin to make good, and complicating matters is a handsome tightrope walker interested in the daughter. It's a great combination of Chaplin's trademark sight gags and pathos. The highlight of the film occurs when the tramp decides to impress the girl by substituting for the no-show tightrope walker. Chaplin filmed this scene several hundred times to get it just right. Three Chaplin regulars appear as clowns in the film: Albert Austin, Henry Bergman, and Chester Conklin. Chaplin edited, wrote, directed, and produced the film and received a special Oscar for doing so. That's Chaplin singing at the beginning of the film, which is very poignant. The singing was added to the film by Chaplin some 40 years later. ***1/2 of 4 stars.
Not My Favorite Chaplin, But Still Classic
gavin69421 February 2011
I would rank this is an above average Charlie Chaplin film. I enjoyed it more than the Gold Rush, but probably not as much as City Lights or Modern Times. It is funny, charming and really shows off all of Chaplin's talents -- acting, directing, singing and more -- but just did not have a solid enough story to catch me.
I really enjoyed the scenes with the donkey, and the clown routines were sort of funny, but I am not sure how to categorize the film. It is not pure comedy, it is not satire, it borders on romance but does not quite go all the way... who knows? What I do know is that seeing this film made me want to see more Chaplin. I have now seen almost all his major work, but always crave more.
I really enjoyed the scenes with the donkey, and the clown routines were sort of funny, but I am not sure how to categorize the film. It is not pure comedy, it is not satire, it borders on romance but does not quite go all the way... who knows? What I do know is that seeing this film made me want to see more Chaplin. I have now seen almost all his major work, but always crave more.
a good start
launsbachc9 May 2014
Warning: Spoilers
Considering silent films are the original models of the type of films that entertain us today, I'd say The Circus reflects a lot of trends that are still prevalent in the cinema industry. The movie features the silly, underdog-type character (Charlie Chaplin), the gorgeous damsel in distress character (Merna Kennedy), the oppressor (Al Ernst Garcia), and the strapping, masculine, and skillful character (Harry Crocker). As in a lot of films familiar to us today in The Circus we have the underdog and the damsel in distress brought together by there ill-treatment they receive from the oppressor. As in most cases the underdog falls for the damsel and later when the masculine ideal man comes into the picture the underdog attempts to compete with him. unlike more modern films in The Circus the underdog does not win the girl over instead she falls for the more masculine character. The significance in the circus is its success likely help ignite this trend that we still see in films today. The subject matter of it is versatile and can be used in anything from comedies to horror films.
A terrific comedy, despite what some may say...
venusadonis12 September 2003
Do not be mislead by the ne'er do wells who claim this movie as Chaplin's weakest.
The plot is not intricate, but Charlie doesn't need an intricate plot to make us laugh out loud. "The Circus" proves this.
Saying that this film is boring is perfectly ridiculous: there are many moments of pure Chaplin genius and, if nothing else, you simply must see this film for the tightrope-walking scene. No, it's not trick photography: that's really Charlie tightrope walking with no stuntmen of any kind. If THAT'S not exciting, I don't know what is.
Oh, and just as a side note, this film was made during a time when Charlie was going through a very dirty and very public divorce-- his ex successful at having his funds frozen during the divorce, he was sued for a million in back-taxes and faced possible jail time, AND the ENTIRE SET to the circus burned down in a fire.
He most definitely deserved the special Oscar he received for this film. That's right: OSCAR.
The plot is not intricate, but Charlie doesn't need an intricate plot to make us laugh out loud. "The Circus" proves this.
Saying that this film is boring is perfectly ridiculous: there are many moments of pure Chaplin genius and, if nothing else, you simply must see this film for the tightrope-walking scene. No, it's not trick photography: that's really Charlie tightrope walking with no stuntmen of any kind. If THAT'S not exciting, I don't know what is.
Oh, and just as a side note, this film was made during a time when Charlie was going through a very dirty and very public divorce-- his ex successful at having his funds frozen during the divorce, he was sued for a million in back-taxes and faced possible jail time, AND the ENTIRE SET to the circus burned down in a fire.
He most definitely deserved the special Oscar he received for this film. That's right: OSCAR.
Not Charlie Chaplin's best, but still a must watch
TheLittleSongbird16 August 2010
I like Charlie Chaplin a lot, and I love a lot of his films. While I consider The Gold Rush, Modern Times, The Great Dictator and especially City Lights better films, The Circus is still a must watch for any fans of one of the greatest geniuses who ever lived(that is my opinion of course).
The Circus while it is very funny is also very sweet and beautiful. It looks lovely, and has a beautiful score. I also loved the recurring despondent theme of love, which provided The Circus's more touching moments, but there are also some truly brilliant slapstick set-pieces especially when Chaplin walks a tightrope with falling trousers and a clinging monkey, while the chase through the hall of mirrors and the scene in the lion's cage are also inspired. Chaplin's direction is superb, and he is even better in the title role of the Tramp.
Overall, a great film while not quite Chaplin's best. 9/10 Bethany Cox
The Circus while it is very funny is also very sweet and beautiful. It looks lovely, and has a beautiful score. I also loved the recurring despondent theme of love, which provided The Circus's more touching moments, but there are also some truly brilliant slapstick set-pieces especially when Chaplin walks a tightrope with falling trousers and a clinging monkey, while the chase through the hall of mirrors and the scene in the lion's cage are also inspired. Chaplin's direction is superb, and he is even better in the title role of the Tramp.
Overall, a great film while not quite Chaplin's best. 9/10 Bethany Cox
A Fun Silent Film
Markie_Mark9930 January 2019
This is my first silent film and I was pleasantly surprised by it. I wasn't sure how I was going to like it, but I ended up really enjoying it. The humor seemed to be very ahead of it's time even though it was done it was all in black and white and the dialogue was only presented with intertitles. Although humor was at the forefront of this movie, it also had a compelling love interest, it had conflict, and the pacing was perfect. I can not think of negative aspect of "The Circus" that would deprive it of a perfect score from me.
Another Great Chaplin Movie
ChaplinIsYourDaddy9 October 2019
This is easily one of the best Chaplin Movies.It has a great sense of humour,very interesting cinematography and very well written characters.This movie contains some of the funniest gags I have ever seen in my life,and it is definetely one of the greatest comedies ever made.
The whole movie was very interesting,it kept from start to finish.The script had a very good structure,filled with great characters that become even more interesting due to some awesome acting by everyone.Also the ending is epic.Chaplin sympolises the circus as the cinema that is heading into a new direction,while the Trump(being obviously him is just not coming with them,and continues with his life like he used to).It is so clever,yet so simple.And that is the magic behind Chaplin.He uses music,characters,gags,to express himself and in the end make you cry.
Two works better than three.
bobsgrock5 January 2010
One of his least known, but definitely one of his best, Charlie Chaplin's The Circus is a moving and very funny film about the famous Tramp who joins a circus and brings love and joy to all around him. Of course, it is much more than that as we witness some incredible stunts by the versatile Chaplin, as well as some great camera work that was undoubtedly way ahead of its time.
Perhaps simply because it is in black and white, or it is without dialog it is a sad truth that great auteurs such as Chaplin and Buster Keaton have been mostly forgotten by today's moviegoers. For this reason, I find it very important to continue to support their work and look for further and deeper truths. What can be gleaned from this is astonishing. There is so much sadness, joy, anger, and fear lurking at the surface it takes multiple views to catch it all. What Chaplin does with this simple story, his incredible array of stunts and comedic situations, and that memorable little Tramp make for one of the greatest of all silent films; one worthy enough to be mentioned with City Lights, The Gold Rush and the other Chaplin classics. Even more than that, it is a memorable event to watch this unfold; one to always think of and cherish for always.
Perhaps simply because it is in black and white, or it is without dialog it is a sad truth that great auteurs such as Chaplin and Buster Keaton have been mostly forgotten by today's moviegoers. For this reason, I find it very important to continue to support their work and look for further and deeper truths. What can be gleaned from this is astonishing. There is so much sadness, joy, anger, and fear lurking at the surface it takes multiple views to catch it all. What Chaplin does with this simple story, his incredible array of stunts and comedic situations, and that memorable little Tramp make for one of the greatest of all silent films; one worthy enough to be mentioned with City Lights, The Gold Rush and the other Chaplin classics. Even more than that, it is a memorable event to watch this unfold; one to always think of and cherish for always.
Is That All There Is?
asc8520 June 2008
I consider Chaplin a true movie master. I enjoyed "The Gold Rush" and "Modern Times," and think that "City Lights" is one of the five best movies I have ever seen. So I think I definitely "get" Chaplin.
All that being said, I can see why "The Circus" is often overlooked when discussing his films. I suppose it's blasphemous to criticize ANY Chaplin film (as I write this comment, not even one lukewarm review has been written for this film), but I think this film lacked pathos and depth. Certainly nothing wrong about this film, but nothing really great about it either. For me, it's not the humor that makes Chaplin's films so great, it's the pathos. And in "The Circus," I think he failed to pull this off.
All that being said, I can see why "The Circus" is often overlooked when discussing his films. I suppose it's blasphemous to criticize ANY Chaplin film (as I write this comment, not even one lukewarm review has been written for this film), but I think this film lacked pathos and depth. Certainly nothing wrong about this film, but nothing really great about it either. For me, it's not the humor that makes Chaplin's films so great, it's the pathos. And in "The Circus," I think he failed to pull this off.
One of Chaplin's Best, Produced Under Trying Personal Circumstances
springfieldrental26 April 2022
There's been some brilliant minds that have produced their best work under personal stress. Painter Vincent van Gogh especially comes to mind. Add comic genius Charlie Chaplin to that roster. While working on his January 1928's release, "The Circus," several crushing personal and profession blows came to him all at once. But the resilient actor/director rebounded from a series of misfortunes to create one of his most admired feature films.
His marriage to late teenager Lita Grey was dissolving when he went into the movie's production. Lita had packed her bags and left the house with their two children, serving him with divorce papers. Chaplin was forced to stop filming midway through the movie for several months while he was enduring a high-profile divorce trial costing him $600,000 in alimony. Meanwhile, the IRS, drawn into the case, discovered Chaplin owed $1 million in back taxes and froze all his assets. On top of all that, his mother, Hannah Chaplin, was on her deathbed and soon passed away shortly after "The Circus" was released.
Compounding his personal issues was his film studio he owned suffered a major fire in the midst of "The Circus" production. One reel of film, showing him performing a breath-taking tight rope act 40 feet up, with several monkeys scampering all over him, was scratched during processing and had to be reshot over again. Chaplin, who rehearsed for weeks learning how to walk the tight rope, said after viewing the newly filmed sequence that it wasn't nearly as good as the original one.
Chaplin was on the verge of a nervous breakdown. This period was such a time of turmoil for the comedian that when he was composing his autobiography years later, he barely mentioned any of these events.
Despite it all, "The Circus" is acknowledged as one of Chaplin's best films. The Academy nominated it for three awards: Best Director in a Comedy Picture, Best Actor, and Best Original Story. Recognizing the film as an exceptional production, the Academy decided to give Chaplin an honorary Special Award for "acting, writing, directing and producing of 'The Circus,'" the first Honorary Award ever given. (The other Honorary Award doled out during the first Awards ceremony in May 1929 was to Warner Brothers for "The Jazz Singer," "the pioneer outstanding talking picture, which has revolutionized the industry." Academy members felt because of its singing and talking, it would be unfair to compare the film to its silent competitors.).
In "The Circus," Chaplin's Tramp evades policemen who are chasing him in the mistaken belief he was pickpocketing by running into a circus tent during a performance. He's hired by circus management for his antics, where he falls in love with Merna (Merna Kennedy), the ringmaster's step-daughter. But she's attracted to the newly-hired tight rope walker, Rex (Harry Crocker). Chaplin in turn tries to one-up him on the ropes. In another scene he accidentally finds himself locked in a lion's cage. Chaplin filmed 200 takes with himself in the cage with the animal.
"The Circus" was the 17th highest box office hit ever in silent movies. The movie was nominated by the American Film Institute as the one of 500 to qualify for its Top 100 Funniest American Movies. Film critic Roger Ebert included it in his "Great Movies" list.
Although Chaplin didn't quite give up surrendering his silent format, "The Circus" marked the last movie he produced during the silent movie era. The film also marked the screen debut of Merna Kennedy. She was a dancer and friend of Lita Grey, who introduced her to Chaplin. Merna was hired because of her athletic ability to ride on a horse. Kennedy was one of those rare actresses who made the transition to sound, only to retire when she met and married choreographer Busby Berkeley in early 1934. The marriage lasted only two years. Kennedy tragically died of a heart attack in 1944 at the young age of 36.
His marriage to late teenager Lita Grey was dissolving when he went into the movie's production. Lita had packed her bags and left the house with their two children, serving him with divorce papers. Chaplin was forced to stop filming midway through the movie for several months while he was enduring a high-profile divorce trial costing him $600,000 in alimony. Meanwhile, the IRS, drawn into the case, discovered Chaplin owed $1 million in back taxes and froze all his assets. On top of all that, his mother, Hannah Chaplin, was on her deathbed and soon passed away shortly after "The Circus" was released.
Compounding his personal issues was his film studio he owned suffered a major fire in the midst of "The Circus" production. One reel of film, showing him performing a breath-taking tight rope act 40 feet up, with several monkeys scampering all over him, was scratched during processing and had to be reshot over again. Chaplin, who rehearsed for weeks learning how to walk the tight rope, said after viewing the newly filmed sequence that it wasn't nearly as good as the original one.
Chaplin was on the verge of a nervous breakdown. This period was such a time of turmoil for the comedian that when he was composing his autobiography years later, he barely mentioned any of these events.
Despite it all, "The Circus" is acknowledged as one of Chaplin's best films. The Academy nominated it for three awards: Best Director in a Comedy Picture, Best Actor, and Best Original Story. Recognizing the film as an exceptional production, the Academy decided to give Chaplin an honorary Special Award for "acting, writing, directing and producing of 'The Circus,'" the first Honorary Award ever given. (The other Honorary Award doled out during the first Awards ceremony in May 1929 was to Warner Brothers for "The Jazz Singer," "the pioneer outstanding talking picture, which has revolutionized the industry." Academy members felt because of its singing and talking, it would be unfair to compare the film to its silent competitors.).
In "The Circus," Chaplin's Tramp evades policemen who are chasing him in the mistaken belief he was pickpocketing by running into a circus tent during a performance. He's hired by circus management for his antics, where he falls in love with Merna (Merna Kennedy), the ringmaster's step-daughter. But she's attracted to the newly-hired tight rope walker, Rex (Harry Crocker). Chaplin in turn tries to one-up him on the ropes. In another scene he accidentally finds himself locked in a lion's cage. Chaplin filmed 200 takes with himself in the cage with the animal.
"The Circus" was the 17th highest box office hit ever in silent movies. The movie was nominated by the American Film Institute as the one of 500 to qualify for its Top 100 Funniest American Movies. Film critic Roger Ebert included it in his "Great Movies" list.
Although Chaplin didn't quite give up surrendering his silent format, "The Circus" marked the last movie he produced during the silent movie era. The film also marked the screen debut of Merna Kennedy. She was a dancer and friend of Lita Grey, who introduced her to Chaplin. Merna was hired because of her athletic ability to ride on a horse. Kennedy was one of those rare actresses who made the transition to sound, only to retire when she met and married choreographer Busby Berkeley in early 1934. The marriage lasted only two years. Kennedy tragically died of a heart attack in 1944 at the young age of 36.
Send in the Clowns
zsenorsock13 October 2008
Warning: Spoilers
I may be a lonely voice in the wilderness on this one, but I was greatly disappointed by "The Circus". I love silent films but if you compare the films the other two great silent clowns were doing at the same time, "The Circus" does not compare. Lloyd was doing films like "The Kid Brother" and "Speedy" while Keaton was doing "The Cameraman"--all films that show how really great silent pictures can be.
When the Tramp is chased into the circus by the cop the audience immediately goes wild! They scream with laughter, yell and applaud, despite the fact the Tramp has done NOTHING remotely funny at this point. In fact, his run on the turntable is pretty much what the "unfunny" clowns just did. Keaton or Lloyd never would have cheated this way. They'd have given themselves something funny to do and won over the audience and SHOWN us how funny their characters were, even if it was inadvertent.
Chaplin also misses a daring comedy moment when his Tramp character ISN'T funny and the ringmaster threatens to fire him. Chaplin could have shown us how with a lack of timing and lack of inspiration a funny bit could fall flat, but he fails to seize the moment.
The bit in the lion cage and the high wire scene are undeniably funny and great sequences in and of themselves. But the rest of "The Circus" is not. Perhaps if this had been made around 1924, it would compare favorably to films of that era. But compared to the previously mentioned films (and classics like Keaton's "The General") Chaplin is backsliding here. Adding the title song years later doesn't help it.
When the Tramp is chased into the circus by the cop the audience immediately goes wild! They scream with laughter, yell and applaud, despite the fact the Tramp has done NOTHING remotely funny at this point. In fact, his run on the turntable is pretty much what the "unfunny" clowns just did. Keaton or Lloyd never would have cheated this way. They'd have given themselves something funny to do and won over the audience and SHOWN us how funny their characters were, even if it was inadvertent.
Chaplin also misses a daring comedy moment when his Tramp character ISN'T funny and the ringmaster threatens to fire him. Chaplin could have shown us how with a lack of timing and lack of inspiration a funny bit could fall flat, but he fails to seize the moment.
The bit in the lion cage and the high wire scene are undeniably funny and great sequences in and of themselves. But the rest of "The Circus" is not. Perhaps if this had been made around 1924, it would compare favorably to films of that era. But compared to the previously mentioned films (and classics like Keaton's "The General") Chaplin is backsliding here. Adding the title song years later doesn't help it.
The Film That Made Me Appreciate Chaplin
vinniekmetz21 September 2006
Warning: Spoilers
I am definitely an amateur and may be a dilettante when it comes to being a serious film reviewer/critic, but this movie has SO very much to offer to the movie-lover, that it is a sad commentary on the state of our commercial arts that it remains largely unknown to all but the ardent silent/chaplin aficionados.
The IMDb profile and the other user comments highlight many of the generally innovative and well-executed gags and set-ups but I thought I would provide a list of things to look out for that don't get so much attention:
There's dozens more just like this within this film and if you haven't seen it, it is so worth the investment of 70 minutes of your entertainment time. It has heart, nobility, zany humor and madcap comedic antics rolled into one concise ball; not unlike the ball of paper made by the crumpled circus star, that the tramp kicks away in the end.
a wonderful piece of film-making.
pax vk
The IMDb profile and the other user comments highlight many of the generally innovative and well-executed gags and set-ups but I thought I would provide a list of things to look out for that don't get so much attention:
- the hungry tramp stealing bites of hot dog from a toddler; only chaplin and his tramp would need to add mustard to the illicit gain
- though a famous shot for chaplin-niks, the brilliant harmony (aided greatly by the manic section of music) as both the thief and the tramp end up in parallel flight from the coppers, essentially for the same crime.
- the entire aristocratic air of the tramp settling down for a hobo's breakfast; when the chicken clucks by and charlie runs off to chase it, there's a pregnant pause of expectation...did he get it? will it be his meal? No. Befitting and completing the emotional tenor of the tramp, all he desired was an egg. So rewarded, he doffs his hat to the offscreen chicken. A fair exchange thus completed.
- I can hardly believe that in 50 or so comments, no one has mentioned the introduction of Merna to Charlie. When she reveals that indeed she is a performer in the circus, charlie glances at the poster-bill behind them both advertising the "Sword Swallower" With a mischievous grin and lilting eyes, he inquires as to whether this is HER role in the show. When she corrects him, "No, I ride the horses." he is so sweetly embarrassed by his misconstrual of her talents. A very sexually subversive, risqué gag for 1928.
There's dozens more just like this within this film and if you haven't seen it, it is so worth the investment of 70 minutes of your entertainment time. It has heart, nobility, zany humor and madcap comedic antics rolled into one concise ball; not unlike the ball of paper made by the crumpled circus star, that the tramp kicks away in the end.
a wonderful piece of film-making.
pax vk
"Bring on the funny man!"
classicsoncall12 December 2020
Warning: Spoilers
"The Circus" plays more like a series of vignettes instead of a complete story, although it all does take place in the limited venue of a circus environment. The version I viewed from the Criterion Collection offered a restored 1968 update to the movie, complete with an introductory song written and sung by Chaplin, who is also credited as director and producer to go along with his acting honors. The movie is an enjoyable one, and the way it breezes by you would almost think it's one of his short films. It's difficult to definitively pick out a favorite bit from the picture, although the 'Mirror Maze' segment was quite fun, while the segment with the cop chasing The Tramp on the merry go round has to be notable for the timing and complexity involved. In a nutshell, Chaplin's Tramp character becomes the star of the circus quite by accident when he stumbles into the center ring during the cop chase, and is hired by the Ringmaster (Allan Garcia) to perform for real. However The Tramp can't seem to summon up any humor when he's put on the spot for it; it's only when his instincts take over when he finds himself in sticky situations that he brings the circus audience to life. You really have to credit Chaplin for performing bravely, doing all of his own stunts and often times tempting fate. The high wire act in which his harness suddenly detaches and the monkeys swarm him makes you hold your breath. There's a bit of a side story involving the abused daughter (Merna Kennedy) of the ringmaster, though it doesn't turn into a romance for The Tramp, who's left to wistfully contemplate the circus as it packs up and moves on to the next town.
Though I'm not a Chaplin connoisseur, I do enjoy his films, and of the handful I've seen, my favorite happens to be "City Lights". In an IMDb list of silent films I've watched and reviewed, this one sits in tenth place out of almost three dozen films when ranked in IMDb rating order. The thing is, four of Chaplin's other movies rate higher, with "Modern Times" topping the list. The others are "City Lights", "The Kid", and Gold Rush".
Though I'm not a Chaplin connoisseur, I do enjoy his films, and of the handful I've seen, my favorite happens to be "City Lights". In an IMDb list of silent films I've watched and reviewed, this one sits in tenth place out of almost three dozen films when ranked in IMDb rating order. The thing is, four of Chaplin's other movies rate higher, with "Modern Times" topping the list. The others are "City Lights", "The Kid", and Gold Rush".
The Circus
E-reilly31 May 2011
This was the first silent film that I had ever seen. It was better than I had anticipated.The story was easy to follow and the humor was a funny that is not matched in movies today. The fact that the film is silent added to the comedic persona played by Chaplin. The exaggerated movements and expressions have a great impact on the effect. The chase through the mirror maze would not be as funny had it not been the tramp character and also would not be as funny with sound. The effect of the applause at various points in the film were amplified by just being able to see the audience clapping furiously. I would recommend this film if you are into goofy and clumsy characters and a simple story to follow.
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