Die Tränen des Clowns

I only watched about fifteen minutes of this and just exited out. I really thought Red Skelton would be enjoyable in what was to be a dramatic role. I thought it would like watching the likes of Robin Williams or Jerry Lewis - actors known for comedy but are surprisingly good at drama. But no. Sadly, Skelton played it all for laughs, and it failed. The scene where his son is reviving him at the bar was slapstick, as was the scene where he is getting undressed for bed. When he wakes up in the morning with his head stuck in the footboard, that was it for me. Enough already, I was expecting a drama.

Red Skelton does a great job in a straight role as a former vaudeville star, now an alcoholic drifting from one gig to another, and raising a son. Skelton's Dodo depicts an alcoholic quite well - he continually makes promises not to drink, to get steady work, etc. And then sabotages his own efforts, leaving Dink to clean up after him. Dink - a child forced to grow up sooner than he should - adores his father, even though he is frustrated by his behavior as well. The movie is pretty much a remake of Wallace Beery's "The Champ," but even so, the pathos stays intact. This ranks as a minimum two-hanky feature, and is well worth watching.

Tim Considine was truly outstanding playing the son of a down and out physical comedy performer. Red is the king of vices, he's a drunk, undependable who gambles away any money he makes down to his sons treasured pocket watch. Considine is the adult encouraging, sometimes chastising his dad. Into the story comes the long list mother and her next husband. Of course they want Dink (Considine) to live with them. At the same time Red's character gets an offer of a 1 hour weekly TV show "The Clown" The story line isn't new, other writers have taken on divided parentage fighting for custody. What sets The Clown apart is the individual preformacers.

Just a kid when I saw this movie. Red Skelton should have got a good review for his part. To have made me cry, as a kid, not bad for a comic.

Reworking of 1931's "The Champ" is a predictable father-son wallow permeated with self-pity...but you have to expect that with this formula. Story of an ex-Ziegfeld comedian who has fallen on hard times provides the perfect opportunity for Red Skelton to stretch some dramatic muscles, and he does not disappoint. Plus, his relationship with young Tim Considine is well-played, and the surrounding milieu of nightclubs and talent agencies is fairly believable. Still, this script really goes out on a limb to give Skelton's Dodo an even break (landing a TV gig!), and the heartache inherent in the finale is telegraphed from miles away. ** from ****