Warner Beery made one really good film biography in his career: VIVA VILLA. If it did not catch the truth of the story of Francisco Pancho" Villa, it came close to giving a fascinating view of the personality that to many Americans remains (with his associate Zapata) the key figure of the Mexican Revolution of 1910 - 1921. But it was not his only biographical film. The film that followed VIVA VILLA was THE MIGHTY BARNUM, which emphasized Beery's comic abilities. It was not as good a movie.
Beery was at the height of his Hollywood stardom (he was not the regular comic lug yet, except in some of the films with Marie Dresser). In 1930 he did arguably his best film performance as Butch, the gangster in THE BIG HOUSE who keeps pining over his unseen girlfriend. In 1931 he shared (with Fredric March) the best actor Oscar for his performance in THE CHAMP. In 1933 he would be Dan Packer, the wealthy scoundrel with political ambitions and a troublesome toy wife (Jean Harlow) in DINNER AT EIGHT. In 1934, besides VIVA VILLA he did his best co-starring film with Jackie Cooper, TREASURE ISLAND. And in 1935 he and Harlow were reunited with Clark Gable and Rosalind Russell in CHINA SEAS. Artistically Beery was at his peak.
THE MIGHTY BARNUM demonstrates that a great performer or star does not have to be in a slump to make a turkey, but can make one in the midst of a trove of great performances. It is not that Beery does not try to give a good performance as the great 19th Century impresario, museum owner, super humbug (but lovable one), and circus magnate. It is just that he's saddled with such a weak script that he does not know what to make of his role. Occasionally he seems a visionary about the entertainment world (which old P.T. really was - he thoroughly understood glitz and advertising was a key to success, long before his rivals did). But Barnum was (on the whole) a shrewd, skillful businessman. He was tricked badly once in a swindle involving a clock company that was failing - it led to his temporary bankruptcy. But most of the time he and his shows (and his skillful, entertaining tricks) made a great deal of money. Beery's Barnum will push certain people or exhibits for what they are worth, but he keeps coming a-cropper regarding properly developing them.
The script writers were doing this on purpose. They wanted to spring a last minute surprise on the audience concerning Barnum's friend and adviser, Mr. Walsh (Adolphe Menjou). Menjou always suggests the smart thing to do to push the various acts Barnum controls, and Barnum's weakest point is when Mr. Walsh and he quarrel for a few years. Only at the tail end, when they have made their apologies, and Barnum offers Walsh a partnership, does he learn that his friend's first name is "Bailey". This is as bad a conclusion as that of Don Ameche's biography about Stephen Foster. As has been mentioned in the other review of this film here, Barnum's brilliant business partner was James Bailey. Show Walsh to the "Egress".
The other roles include various Barnum celebrities and fakes: Joyce Heth, the Feejee ("Fiji") Mermaid, the Cardiff Giant, General Tom Thumb, Jumbo, and, of course, Virginia Bruce as Jenny Lind. The fact that Barnum actually improved the entertainment of the masses in America is not commented on (his Museums had lectures in them, and he tried to stress some educational features in his menageries and circuses dealing with animals). His love of fooling the public (which laughed at his fooling) is emphasized.
It's an entertaining enough movie, but try to catch the television films starring Burt Lancaster or Beau Bridges to get a closer look at the real man Phineas Taylor Barnum, one time member of the Connecticut Legislature (and nearly Governor of Connecticut), and one of the 19th Century's most colorful and memorable figures. And, if you have a chance, go to Bridgeport and see his home, which is a famous circus museum now - fittingly enough.
Beery was at the height of his Hollywood stardom (he was not the regular comic lug yet, except in some of the films with Marie Dresser). In 1930 he did arguably his best film performance as Butch, the gangster in THE BIG HOUSE who keeps pining over his unseen girlfriend. In 1931 he shared (with Fredric March) the best actor Oscar for his performance in THE CHAMP. In 1933 he would be Dan Packer, the wealthy scoundrel with political ambitions and a troublesome toy wife (Jean Harlow) in DINNER AT EIGHT. In 1934, besides VIVA VILLA he did his best co-starring film with Jackie Cooper, TREASURE ISLAND. And in 1935 he and Harlow were reunited with Clark Gable and Rosalind Russell in CHINA SEAS. Artistically Beery was at his peak.
THE MIGHTY BARNUM demonstrates that a great performer or star does not have to be in a slump to make a turkey, but can make one in the midst of a trove of great performances. It is not that Beery does not try to give a good performance as the great 19th Century impresario, museum owner, super humbug (but lovable one), and circus magnate. It is just that he's saddled with such a weak script that he does not know what to make of his role. Occasionally he seems a visionary about the entertainment world (which old P.T. really was - he thoroughly understood glitz and advertising was a key to success, long before his rivals did). But Barnum was (on the whole) a shrewd, skillful businessman. He was tricked badly once in a swindle involving a clock company that was failing - it led to his temporary bankruptcy. But most of the time he and his shows (and his skillful, entertaining tricks) made a great deal of money. Beery's Barnum will push certain people or exhibits for what they are worth, but he keeps coming a-cropper regarding properly developing them.
The script writers were doing this on purpose. They wanted to spring a last minute surprise on the audience concerning Barnum's friend and adviser, Mr. Walsh (Adolphe Menjou). Menjou always suggests the smart thing to do to push the various acts Barnum controls, and Barnum's weakest point is when Mr. Walsh and he quarrel for a few years. Only at the tail end, when they have made their apologies, and Barnum offers Walsh a partnership, does he learn that his friend's first name is "Bailey". This is as bad a conclusion as that of Don Ameche's biography about Stephen Foster. As has been mentioned in the other review of this film here, Barnum's brilliant business partner was James Bailey. Show Walsh to the "Egress".
The other roles include various Barnum celebrities and fakes: Joyce Heth, the Feejee ("Fiji") Mermaid, the Cardiff Giant, General Tom Thumb, Jumbo, and, of course, Virginia Bruce as Jenny Lind. The fact that Barnum actually improved the entertainment of the masses in America is not commented on (his Museums had lectures in them, and he tried to stress some educational features in his menageries and circuses dealing with animals). His love of fooling the public (which laughed at his fooling) is emphasized.
It's an entertaining enough movie, but try to catch the television films starring Burt Lancaster or Beau Bridges to get a closer look at the real man Phineas Taylor Barnum, one time member of the Connecticut Legislature (and nearly Governor of Connecticut), and one of the 19th Century's most colorful and memorable figures. And, if you have a chance, go to Bridgeport and see his home, which is a famous circus museum now - fittingly enough.