RELEASE DETAILS: Copyright 25 June 1964 by Samuel Bronston—Midway Productions. Released through Paramount Pictures. New York opening at Loew's Cinerama: 25 June 1964. U.S. release: 25 June 1964. U.K. release through Rank Film Distributors: 28 December 1964. London opening: 16 July 1964. Australian release through British Empire Films: 4 June 1965. 135 minutes (U.S.); 143 minutes (Australia). U.K. release title: The MAGNIFICENT SHOWMAN.
SYNOPSIS: In the early 1900's, an American impresario takes his circus to Europe.
COMMENT: "A dismally trite and obvious picture" wrote Bosley Crowther in The New York Times. I would not go anywhere like this far, but yes, the script is undeniably weak. Story issues are introduced which are neither resolved nor developed (particularly those involving Richard Conte character). Much tighter editing would help. We were almost asleep before the climactic fire re-awoke us to the earlier spectacular potential of the script, as in the early boat capsize episode. Both the boat capsize and the fire are particularly well-staged — a seamless collaboration between Hathaway and Talmadge (or did Hathaway stage these eps himself?). Talmadge undoubtedly did the "runaway" horse in the street and all the circus material where the hand of Renoir can be clearly detected in the characteristic use of more muted color than Hildyard is using for the main unit.
Certainly Wayne himself is doing some of his own stunts, though a very obvious process screen is often employed.
Acting is more creditable than usual under Hathaway's direction, despite the weak and familiar plot, the tedious dialogue and unresolved drama (presumably Conte started the fire and planted the stuff in Claudia Cardinale's dressing room, but after his dramatic impingement into Hayworth's opening shot at trapeze practice, he virtually disappears.
Claudia herself is perhaps a little too enthusiastically vivacious and Mr. Smith is far too much of an eager-beaver, but Hayworth's restrained performance holds her scenes together. Wayne is his usual self. Nolan is a liability (admittedly he has the worst of the faithful, trusted sidekick dialogue) but Katherine Kath makes a memorable impression in her scene as Hayworth's former landlady. Kay Walsh has a tiny spot.
A great deal of well-deserved footage is given over to the circus acts themselves — the plate sequence with the clowns is most amusingly well-timed, and I enjoyed the introductory act by Conte's double — the clown on the high wire!
SYNOPSIS: In the early 1900's, an American impresario takes his circus to Europe.
COMMENT: "A dismally trite and obvious picture" wrote Bosley Crowther in The New York Times. I would not go anywhere like this far, but yes, the script is undeniably weak. Story issues are introduced which are neither resolved nor developed (particularly those involving Richard Conte character). Much tighter editing would help. We were almost asleep before the climactic fire re-awoke us to the earlier spectacular potential of the script, as in the early boat capsize episode. Both the boat capsize and the fire are particularly well-staged — a seamless collaboration between Hathaway and Talmadge (or did Hathaway stage these eps himself?). Talmadge undoubtedly did the "runaway" horse in the street and all the circus material where the hand of Renoir can be clearly detected in the characteristic use of more muted color than Hildyard is using for the main unit.
Certainly Wayne himself is doing some of his own stunts, though a very obvious process screen is often employed.
Acting is more creditable than usual under Hathaway's direction, despite the weak and familiar plot, the tedious dialogue and unresolved drama (presumably Conte started the fire and planted the stuff in Claudia Cardinale's dressing room, but after his dramatic impingement into Hayworth's opening shot at trapeze practice, he virtually disappears.
Claudia herself is perhaps a little too enthusiastically vivacious and Mr. Smith is far too much of an eager-beaver, but Hayworth's restrained performance holds her scenes together. Wayne is his usual self. Nolan is a liability (admittedly he has the worst of the faithful, trusted sidekick dialogue) but Katherine Kath makes a memorable impression in her scene as Hayworth's former landlady. Kay Walsh has a tiny spot.
A great deal of well-deserved footage is given over to the circus acts themselves — the plate sequence with the clowns is most amusingly well-timed, and I enjoyed the introductory act by Conte's double — the clown on the high wire!