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The movie begins with a scene where Boone is crooning a syrupy tune with the audience paying no attention,till one of the guests tries to teach him his own song.There's a similar scene in one of Presley's early movies.

Pat Boone was a safe alternative to the fifties Elvis and his only good movie was the tremendous "Journey to the center of the earth" (1959). This one is pleasant ,mainly in its first part ,more boring afterwards even though it features a relatively smart "unexpected end" .

The main attraction of the circus is a lovely girl, Tessa ,who does very dangerous things.But pretty boy Eddie is aging alcoholic ventriloquist Gina 's partner and gigolo and she is not prepared to accept a rival.And ,to make the matters worse,Tessa's brother -in -law propositions her.

The second part takes place -we did not notice it in the circus scenes- in a chocolate box Austria where everybody speaks English ;it even includes the Bundesheer (two soldiers) and an avalanche,which makes the movie a disaster flick as well as a musical or a sentimental story.

TMA is stupid film about stupid people living stupid lives for stupid sake.

Handsome drifter, able crooner and guitar player and pursued for a murder he didn't commit, gets involved with pretty young circus girl as they brave an avalanche in the Italian Alps. I was unprepared to be as charmed by this candyfloss feature as I was. God know there's not one iota of bad-guy in Pat Boone who tries hard to fit the picture of insolent masculinity and act the cad. Someone who sings 'Amore, baciami' with honeyed tones such as his is not destined for evildom. If it comes your way, watch it by all means, it's not half bad.

The official story is this was an attempt to allow Pat Boone to portray a grittier side in order to prepare him for meatier roles. However, watching it, I got the impression this was intended for Elvis Presley, but he, or rather Col. Parker, turned it down. This feeling was reinforced by the fact that the opening scene was practically duplicated, with minor variations, a few years later in Elvis' Roustabout. The film's failure is due to the fact that Boone doesn't have the acting talent to portray a less than savory character. This also affects the performances of the rest of the cast, all who have proved themselves elsewhere, because they have nothing, and no one, to play against. Only Kieron Moore, playing leading lady Nancy Kwan's brother-in-law, manages to accomplish a fully fleshed-out performance.

Pat Boone attempts a serious performance in this otherwise insipid circus melodrama with romantic underpinnings, its story culminating in a silly avalanche sequence which adds not excitement but only melodrama to the mix. Surly American troubadour, traveling the world with his guitar after getting fired from every job he's ever had, winds up singing in Italy where he's discovered by a female ventriloquist employed by the circus. Big Top nonsense (with a scenario oddly similar to Elvis Presley's later "Roustabout" from 1964) quickly gives way to a heightened ridiculousness as Boone thinks he's killed a man and hightails into the Italian Alps with smitten Nancy Kwan in tow. British production has good color photography but no discernible style, not to mention some of the laziest circus acts of all time. Kwan, struggling to mount a running horse, gets one of many unintentional laughs; Boone is in fine, clear voice and lends the movie any vitality it possesses. *1/2 from ****