Circus (Full Screen) [Import]
The Little Tramp brings his slapstick hijinks to the big top. Charlie Chaplin's film "The Circus" begins in a fading circus, where the equestrienne (Merna Kennedy) can't jump the hoops and the clowns can't make the audience laugh. Outside on the midway, The Little Tramp falls into a series of wonderful comic routines that end when, pursued by a cop, he bursts into the tent's center ring and wows the audience. The circus owner/ringmaster (Allan Garcia) auditions The Little Tramp as a clown but discovers he is only funny when he isn't trying. He tricks The Little Tramp into joining the circus as a prop man who wreaks havoc with whatever he does and who unknowingly becomes the star of the show.
Made in 1928 while he was in the middle of a painful divorce case, Charlie Chaplin's The Circus was so associated with bad memories for its maker that he refused even to mention it in his 1964 autobiography. Consequently, it has enjoyed less of a reputation than such films as The Gold Rush (1925) and City Lights (1931). However, while it's not quite in their league, The Circus undoubtedly deserves to be rescued from relative obscurity.
Here, Chaplin's Tramp is taken on as a clown at the circus, having been chased into the big tent by a policeman wrongly suspected of theft and wowing the audience with his pratfalls. He falls in love with the ill-treated ringmaster's daughter (Merna Kennedy) but is swiftly rivaled by a new addition to the circus, a handsome tightrope walker. To try to win back her affections, the Tramp himself attempts the same act, culminating in the best sequence of the film, when he is assailed by monkeys as he totters amateurishly and precariously along a rope suspended high in the tent. Although The Circus is marred by the rather hackneyed and (even in 1928) stale melodramatic device of the cruel father and imploring daughter, it scores high on its slapstick content, with routines involving a hall of mirrors and a mishap with a magician's equipment demonstrating Chaplin's dazzling ability to choreograph apparently improvised mayhem. --David Stubbs --This text refers to an out of print or unavailable edition of this title.
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Top Customer Reviews
TRANSFER: Warner/MK2 give us a beautifully rendered B&W picture that, although showing signs of age related wear and tear, nevertheless enthralls in each and every frame. Film grain is kept to a minimum. Blacks - for the most part, are deep and solid. The gray scale is nicely balanced. Occasionally there is some aliasing but it is minute and unobtrusive. The audio, as with all Chaplin movies, has been remastered to 5.1 with a nice spread across all 5 channels.
Extras:a documentary, deleted sequence, outtakes, three home movies, excerpts from "Circus Day" with Jackie Coogan, a photo gallery, film posters and trailers.
BOTTOM LINE: Another Chaplin classic to add to your growing film library!
Perhaps Chaplin kept it out of circulation because the monkeys (who presumably improvised) were funnier than anything he could come up with on purpose. There are few images in cinema more priceless than (DON'T READ THIS IF YOU AIN'T SEEN IT) that monk wrapped around the Tramp's neck and gnawing on his nose as they swing back & forth on the trapeze.
Most recent customer reviews
often overlooked between The Gold Rush and City Lights, which bracketed it in Charlie's catalog. I'd neber seen this one until now, but I think it's probably the strongest of... Read morePublished on March 9 2004 by jethro
Along with Lucy, Chaplin is the only classic comedian I like. Okay, Three Stooges too. Anyway, alot of truth is shown in this movie, like when Chaplin is funny accidently as well... Read morePublished on Aug. 9 2002 by duke14
The Circus is like many of Chaplin's comedies they start off hilarious but once they get towards the middle they get boring. He just does the same thing over and over again. Read morePublished on April 30 2000 by John
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