El circo fantasma

This little movie is an exciting sleeper. It is a fictional story of a real incident about a small circus in an Eastern Bloc country that planned to escape to the West during the cold war. With uniformly excellent performances by all one of its unique accomplishments is the creation of a real sense of place. Although most of the cast is North American and speak in English, through the use of carefully written dialog, well thought out characterizations and wordrobe you have no doubt that you are in a foreign country listening to people speaking in their own language.

A real candidate for resurrection and re-isse.

This is a particularly fine film, but the other users missed an item that I would like to mention.

Namely, communism or, rather, the specific type of communism which was practiced within the old Soviet Empire, was a subtle poison to the human spirit.

In a critical scene, just before the fatal run across the border, the Circus manager questions a roustabout about his betrayal of his community(the Circus) and everyone whom he ever knew there. This man, with a straight face, announces that he and the other manual laborers are the heart and essence of the circus. Along with the movie audience, the manager(played by veteran actor Frederick March) is shocked that anyone could convince himself that people come to see him and his fellows, not the aerialists, not the lion tamer nor even the clowns.

There are no paranoid political rants here, but that form of communism is "busted" for its "divide and conquer" tactics. People took appalling risks to flee communism and this film gives the viewer part of why they were willing to take them. I couldn't imagine then and I can't imagine now that "a higher standard of living" was the reason for this.

Fredric March is a "Man on a Tightrope" in this 1953 film also starring Terry Moore, Gloria Grahame, Adolphe Menjou, Richard Boone and Cameron Mitchell, Directed by Elia Kazan, this black and white film is about circus performers who and a daring plan to escape to Germany from Communist-controlled Czechoslovakia. The manager of the circus, Karel Czernik (Fredric March) is a seemingly weak man - in fact, his second wife (Grahame) detests him for it. When he's called before Communist authorities for one or another infraction committed by the circus, he's deferential and nervous. Behind all this, he has been planning the escape of the entire circus from Czechoslovakia for three years. Only a few people know - but when the Commmunists ask about a radio owned by Czernik, he realizes one of his friends is probably a traitor, though he can't accept it. He also has trouble accepting his daughter's (Terry Moore) taste in men (Cameron Mitchell).

I visited Czechoslovakia eight years ago. The thought of that beautiful country and those charming, stunning people having to live for so long under Communist rule is a heartbreaking thought. This film really brought it home.

One thing immediately noticeable about "Man on a Tightrope" is the circus and the depressing Eastern Europe atmosphere, heightened by the black and white photography and the broken-down circus. Then there is the look of the people in the circus - these aren't actor's faces, these are the faces of real people. Kazan used a real-life circus, the Brumbach Circus, for background and performances. You can almost feel the dust and the oppression of working under Communist rule.

Fredric March gives a wonderful performance as Karel, a true actor who appears to bow to the Communists and yet is no weakling. His love for both his wife and daughter is apparent, as is his determination to get out of the country and concern for the performers. Gloria Grahame is sexy and flirty as his wife, who has her eye on the lion tamer, until she realizes the stuff her husband is made of. Moore and Mitchell are convincing lovers. Adolphe Menjou, as a Communist official, is very good as the only one who pierces the act that March is putting on. Smart men bear watching, and so do nice men. Cernik is both.

Apparently due to the political climate at the time, this film wasn't widely shown or publicized. I caught it on Fox Movie Channel - hopefully FMC will be on more basic cable in the country, and also hopefully Fox will bring this film out on DVD. It deserves to be seen.

This is a really fine movie, with some marvelous subtlety and powerful metaphor, despite the fact it shows its age. Great editing, good script, some superb scenes. I can't understand why it is not more widely known and appreciated. The Cold War is simply the setting; the unprepossessing story means far more.

For those who might be interested, this was the favorite movie of American poet Richard Hugo (1923-1982), who wrote several pages about it in his posthumously published 1986 autobiography, The Real West Marginal Way. A couple of Hugo's comments:

"The border becomes a kind of symbolic line separating the will from the imagination, the world of serious organizational adult responsibility from the paradise of childhood play."

"More than anything else, the music {of the amateurish circus musicians} attests to the poor odds facing not only the tacky circus but humanity itself."

Kazan, in his "A Life", describes this movie mostly in terms of early-morning bonding with his crew, but while it contains far fewer emotional lightning-bolts than most Kazan films, it also contains some incredibly poetic violence. Even though it's hard to tell if it's just hastily staged or artistically muted, one shot of a sentry being killed just below the screen is both intimate and shielding. The battle scenes are exciting, short, and brilliant. Kazan takes no credit at all, saying that much of the film was devised by producer Gerd Oswald and cinematographer Georg Kraus. Strange and sparse, this is a very interesting film.