Nijisseiki shônen dokuhon

This is a great film anyway, although I think it tends to lose its way towards the end. But the music elevates it to an extraordinary experience. The big tune, a kind of Pat Methany guitar thing, is absolutely exquisite. And the way it is first introduced, when the older brother leaves the fantasy world of the circus and steps out into the real world, and then goes on to become the soundtrack to the montage of the characters growing to adulthood, is heartachingly beautiful. It re-occurs enough times without being overused.

But I also recorded a number of tracks from this film to listen to on tape, and I have to point out that many of the other pieces as also wonderfully evocative. The ethereal harps, strange circus organs, etc. are all amazing. I wish someone would release this music on CD. I'd buy it instantly.

Just as the road has become a potent metaphor in cinema for journeys through life, the circus occupies a similar position in representing the security of togetherness. There are not so many examples of the circus movie but when the big top is pitched it is usually a protection from a hostile world outside for those within. In Kazan's "Man on a Tightrope" for instance there is the solidarity in fleeing from a repressive regime. The characters in possibly the greatest circus film of all, Bergman's "Sawdust and Tinsel", may not always act kindly towards one another, but they are often protected by the camaraderie of those they share the tent with. An interesting circus curio from Japan is "Circus Boys" which tells the story of two brothers brought up in the ring who reach a point in their early adulthood where their developmental paths diverge. The younger has retained the emotional protection that the circus provides and stays on to help rebuild it after an appalling accident with a geriatric elephant all but wrecks the show. The older brother, even before this event, has had to get away and in developing his skills as a dishonest showman, falls in with a group of gangsters. After several misadventures he rediscovers the bright lights of the circus tent which presumably beckon him back to stability. Although it all sounds a shade simplistic, this interesting little film is saved from being a little too pat by monochrome visuals that are beautifully composed from first shot to last. Possibly the most memorable character in the film is the elephant, a mass of animated rubber from which eyes stare grotesquely. The demise of this creature is both pathetic and noble.

A very poetic film, full of oneiric images. I think I saw in it a strong 'Fellinian' influence, specially in the way of presenting the characters and in the use of music. By the way, I liked very much it, concretely the theme that sounds with the credit-titles at the end of the film.

Two young brothers in 1930's Japan are given away to a Circus, because their parents are poor. They both become great acrobats and they are acccepted into the family of the Circus. After a few years the elder brother runs away, because he has a leg injury and he fears that the boys will be thrown out. The elder brother becomes a con artist, only to be accepted in to a Yakuza clan, while the younger brother faces hardship and tragedy as the circus struggles. The older brother enjoys success, until he falls in love with the bosses "plaything" (a young girl used as a sex object).

A wonderful film, shot in black and white that uses some abtract images, at the same time it is a beautiful character driven piece of cinematic art. I was surprised that this film contained no violence or sex. It was perfect.