The Devil's Circus- any good?

[rpalm...@stny.rr.com]

I see in my George Eastman House flyer that THE DEVIL'S CIRCUS (1926)
is showing, in a new restoration, on Tuesday, May 24th at the Dryden
theatre. Is anybody familiar with this film? Will it be worth the 3
hour-round-trip-car ride and late -night-on-a work day burden? The imdb
has a glowing review, but...

Thanks,
roger P.

[Ed Hulse]

I'm not big on Norma Shearer, but this is a pretty good little picture.
Especially if you like John Miljan (and who doesn't?).

[ChaneyFan]

It's OK, but not great. The two Christensen MGM films are pretty weak.
This is a tad better than MOCKERY, but not by much. In contrast, his
early Danish films are astonishing, and the one surviving Warners
(SEVEN FOOTSTEPS TO SATAN) is quite wonderful.

[Fair Pickings]

in article 1116463046.5...@z14g2000cwz.googlegroups.com,
rpalm...@stny.rr.com at rpalm...@stny.rr.com wrote on 5/18/05 8:37 PM:

I liked it very much when I saw it at Cinefest several years ago, but can't
remember much about it.

Art Pierce

[David P. Hayes]

> I see in my George Eastman House flyer that THE DEVIL'S CIRCUS (1926)
> is showing, in a new restoration, on Tuesday, May 24th at the Dryden
> theatre. Is anybody familiar with this film? Will it be worth the 3
> hour-round-trip-car ride and late -night-on-a work day burden? The imdb
> has a glowing review, but...

I've seen "The Devil's Circus" twice, each time in 35mm (once at UCLA, the
other time at the Silent Movie). I find it remarkable and moving.
Nonetheless, expect a very different experience from what you find customary
in a silent movie. It's a story of regret and remorse. In some technique
and in mood, it's much like the work of Ingmar Bergman of three decades
later. (The latter director set some of his films in traveling carnival
settings ["Sawdust and Tinsel," "The Magician"], making the comparison all
the more apt. Both directors were Scandiniavian, if that has anything to do
with the sensibilities, themes and moods that both emphasized.)

"The Devil's Circus," on the surface, seems to me an attempt by MGM at
putting Norma Shearer in a circus setting soon after that had worked for her
in "He Who Gets Slapped." Other similarities suggest that MGM planned to
repeat an earlier success. The absence of Lon Chaney or a proxy for him is
the most conspicuous evidence that the film was permitted to develop as
sufficiently different from its predecessor. Director Christensen probably
brought out much more from his actors (I recall emotionally-stirring
close-ups) than was envisioned by anyone else looking at the scenario, so in
that respect, I believe he should be given his due and be congratulated for
guiding the film to its particular combination of calm, realism and
innerpersonal insights.

--
David Hayes

Remove director name from address when responding privately.