Jumbo, la sensation du cirque

For all its merits, "Jumbo" was not a perfect entity as it was released upon the last rung of film musicals, and by the 60's only adaptations of Broadway shows like "West Side Story" and "The Sound Of Music" were being released. As a result a lot of folks have dismissed this one, but I find it to be one of the best exhibitions of a specialized art form- namely, the circus. Populated with many real circus headliners, its musical portions are quite stylish and joyful- especially "Circus On Parade," the equestrian-flavored "This Can't Be Love," and the gorgeous opening number "Over and Over Again-" which shows off 2nd unit man Busby Berkely's visual flourish. (Note, in particular, the final pullback shot which shows all of the acts rehearsing en masse at the same time.) Ms. Day, already a top box office star due to her romantic comedies with Rock Hudson, is gorgeous in the film and her voice can only be described as velvety. Listen especially to her solos "My Romance," "Little Girl Blue," and most impressive, a nighttime duet between Day and Martha Raye in a wagon caravan entitled "Why Can't I?" Portions of the film are directed too slowly and leading man Stephen Boyd is wooden (I would have preferred Harve Presnell or even Howard Keel), but circus owner Jimmy Durante is marvelous in every scene he's in- especially where he's trying to hide an elephant!! The finale, with the cast dressed for a double wedding and dancing to "The Most Beautiful Girl In The World" is truly lovely. If you've never seen a circus you could watch this and be satisfied that you spent an evening under the big top.

In the beginning of the Twentieth Century, the traveling The Wonder Circus has the greatest attraction the elephant Jumbo and is full of debts. The owner, Anthony 'Pop' Wonder (Jimmy Durante), works as a clown but is a gambler addicted in dice games and usually loses the box office gambling. He has been deceiving the clairvoyant Lulu (Martha Raye) for many years promising to marry her. His daughter, Kitty Wonder (Doris Day), is the trick rider and tries to negotiate with creditors and the circus performers to keep the business going on. John Noble (Dean Jagger), who owns a famous Noble Circus, wants to buy Jumbo and The Wonder Circus, but Pop refuses his offers.

When the mysterious Sam Rawlins (Stephen Boyd) asks for a job in the Wonder Circus, Kitty refuses and tells that they do not want adventurer working in their circus. But he proves to be an excellent aerialist and handy man and Pop hires him since they lost many performers due to the lack of payment. Soon Kitty falls in love with Sam, but he has a secret agenda and she does not know.

"Billy Rose's Jumbo" is a forgettable and cute musical based on a 1935 Broadway show. The silly plot is a predictable romance entwined with many songs and performances by circus performers and entertains. The work of the stunts and the edition is wonderful. Unfortunately the songs in the DVD released by Warner in Brazil do not have subtitles in a absolute lack of respect from Warner to the Brazilian costumers. Shame on you Warner! My vote is six.

Title (Brazil): "A Mais Querida do Mundo" ("The Dearest in the World")

In 1962, Doris Day was the top box office star (male or female) in the world. "Billy Rose's Jumbo" opened in New York at Radio City Music Hall during a newspaper strike and a snow storm which made the film suffer at the box office.

It is a wonderful film with great music, good acting and some exciting circus acts. Steven Boyd was the latest actor/wanna-be star to utilize Miss Day as a stepping stone to fame. He was handsome and a good choice to play opposite Doris Day.

The story is secondary to the rest of the film. Simply, Doris' father, Jimmy Durante, owner of the Wonder Circus, was in deep financial trouble and about to lose his business. Boyd played the son of the owner of a rival circus who wants to take over the Durante organization including the main attraction, Jumbo, the wonder elephant.

Day, of course, falls in love with Boyd and the rest is music. Doris Day had some wonderful moments. She showed her mettle as a comedienne in a scene where she takes over a crap game from her father to win back the money he has lost.

Her singing of "My Romance" was very beautiful and I loved the part when she turns, with Boyd, and starts to walk as she sings. Her rendition of "Little Girl Blue" was dramatic and poinant.

Martha Raye, was, well, Martha Raye and Jimmy Durante was, err, Jimmy Durante!

The picture looks like they spent a lot of money on it, the color was sharp and the camera work superb. I also enjoyed the final, "Sawdust, Spangles and Dreams". Day and Raye were very funny as clowns.

This picture is often dismissed as being a flop, the only film which failed during Miss Day's run of box office bonanza. That's unfair because the New York Critics' reviews were not available to inform the public. Their words set the tone for the success or failure of a film. That was especially true in 1962.

From the circus scenes to those wonderful musical numbers (My Romance, The Most Beautiful Girl in the World, This Can't Be Love) this just shines. Day and Boyd may be a little old to play girl and boy falling in love but somehow it works. She is terrific as always, he's a damn good singer, and of course with Jimmy Durante, Martha Raye and an elephant how could it fail? One or two sections drag a bit but in the main this is exceptionally good stuff. Nice syrupy stuff if you're in the mood with some laughs along the way.

The usual circus fun: a determinedly old-fashioned big-top opus with animals, parades, high-wire attractions, songs by Rodgers & Hart. Doris Day manages a struggling traveling circus in the early 1900s, while pop Jimmy Durante gambles away their earnings and show-performer Martha Raye halfheartedly attempts to get Durante down the aisle. Ever-earnest Stephen Boyd shows up in need of a job, and quickly gets Day's heart racing, before it's revealed he's the son of their chief rival--and what he's really after is star-attraction Jumbo the Elephant! Good-looking hokum, if your tastes run to squeaky-clean backlot romps. Too bad the scenarists skimp on any colorful glimpses of the eccentric carny lifestyle (what drives these people so hard anyway?). In the 1960s, Doris Day mainly concentrated on her series of popular bedroom comedies; this effort (her last musical) broke up her routine and she's delightful as always. The piqued direction is by Charles Walters, who has his work bolstered a bit by Busby Berkeley, overseeing the circus sequences. **1/2 from ****