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Reviews
The Greatest Show on Earth (1952)
The Real Meaning of Show Business
The beauty of this picture is that you are witnessing an era which is now gone never to return - the era of the great traveling circuses who put on their shows "under the canvas Big-Top." One can appreciate the thrill for "children of all ages" when the circus came to town because it represented an opportunity, however brief, to be part of a world of wonderment and make believe. More to the point, not only is the institution of circus one of the stars of this film, but you are also treated to seeing some of the great performers in their environment. The presence of the great clown Emmett Kelley has been mentioned elsewhere. For anyone who is a musician you get to see Ringling's circus band - the "Windjammers" - in operation under the direction of probably the most famous of any of the circus band directors - Merle Evans.
But there is a message in this film as well - a message which is the core of any facet of show business. That is - whatever else happens - the show must go on. The bulk of the movie deals with all of the human conflicts and problems existing among this troupe of artistes - and how they must all be resolved by Charleton Heston's character if the circus is to perform. But the ultimate recognition of - and tribute to - the principle that the show must go on is found at the end of the movie. The psycho elephant trainer has caused a massive train wreck between Sections One and Two of the circus train. The equipment is busted and wrecked - the animals are escaping - artistes are injured. And yet, they have a show the next day. Maybe Betty Hutton's character is a little too gung-ho in inspiring the troupe but her conduct is not entirely implausible. The result is that the circus parade limps into town - the band sitting on a farm trailer pulled by one of the elephants, the lion's wagon partially boarded up because iron bars were bent in the train wreck, and most of the acts walking because their transport lies busted next to the train wreck - but the parade WILL be done. And guess what? The citizens of that town respond in kind - they follow the parade in droves to the open field where the crews have set up the poles for the aerial acts - a show "under the sunlight" because the tent is also hors d'combat with the wrecked train. Yes, ladies and gentlemen, the show DOES go on.
The Crusades (1935)
Typical DeMille - and that's not at all bad
Nobody ever accused DeMille of painstaking historical accuracy - his films are far more the type to set the mood and tell a good story with a historical period as a background. "The Crusades" is a prime example - historically Richard the Lionheart was a lousy king of England who barely spent a year in England during his entire reign - to him, England was merely a source for taxes and troops so he fight the his continental wars. The opening scene of the movie when the Chrisitians captured at Jerusalem are being sold into slavery (with the obligatory Muslim leering at the blonde Christian beauties) is also historically suspect. Saladin and his generals expected the Christian nobility that was captured at Jerusalem to ransom the common people prisoners. When they didn't, Saladin and his generals were so disgusted at such a lack of concern that they ended up ransoming many of the commoners themselves - supposedly Saladin personally ransomed several hundred so they could return to Europe. But I digress.
This is a movie which contains a scene that has stayed with me for several decades. I doubt if it would play well today - I can't think of any actors who could pull it off. The scene is where the Christian leaders of the Crusade meet Saladin for the first time when Saladin comes to warn them to go back to Europe. The various Kings, dukes, et al are all seated and listen to Saladin's message. Richard the Lionheart then steps up and tells Saladin that the Christians aren't afraid, that their armies are powerful and to illustrate his point he has two servants hold an iron mace while he proceeds to cleave it in two with his sword. An impressive display of the strength of his blade. But Saladin has a priceless response. He walks over to Berengaria and asks if he can have her silk veil. He takes the veil, tosses it into the air, and then pulls his own sword and positions it below the falling veil, blade up. The veil falls onto the blade and is cut in two by its own weight - for this was a famed Damascus blade. Saladin's point - brute strength isn't everything. Of course, all of the Christian nobles just drop their mouths in utter shock at the demonstration. A priceless scene - and an illustration of the "little things" that separate a humdrum film from one you enjoy watching time and time again.
Gunga Din (1939)
Politically incorrect only to the historically ignorant
While it is fashionable in too many circles to condemn anything which portrays European colonialism generally, and the British Empire specifically, in a favorable light, a little historical knowledge will show that Kipling's story, as well as this superb film, are hardly the reactionary racist screed some would like to demote them to. Gunga Din is a regimental bhisti - a water carrier - and in 19th century India that meant that he had a job which guaranteed a place to sleep and food in a very brutal society. Considering that he was also an "untouchable" - a member of India's lowest caste - this was something. Colonel Weed is correct in saying "he had no official status as a soldier" - bhistis were non-military auxiliaries. As for his loyalty to the British, there were many Indians who clearly preferred British rule to that of their fellows - and not just the maharajas and princes.
If you read the story - and watch the movie with an objective eye - at the end, all the major characters have nothing but respect for Gunga Din. Sergeant MacChesney (Victor McLaglen) is clearly shamed by the fact that Din, in the end, was not only the better soldier but the better man - he sacrificed himself to prevent the ambush and massacre of the British column. The most telling example that the movie doesn't "put down" Gunga Din is at the end when Colonel Weed posthumously appoints the former regimental bhisti as a Corporal in the regiment. Corporal was a BRITISH rank - the equivalent Indian rank was Havildar. So, he was appointed as a BRITISH non-commissioned officer who could command British troops - hardly an example of political incorrectness.
Yes, this is "men-as-buddies" flick. However, this movie has a special appeal to anyone who has actually served in the military - those are the types of friendships you make (you'll share your last drop of water with your mess mate) and keep for the rest of your days. It acknowledges that. So enjoy it - it is a rousing tale - and keep the PC-nonsense out of it. The bad guys lose in the end while the best man is recognized for his virtues - you don't even get that it in real life.