Man on a Tightrope

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.

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.

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 an interesting movie about the members of a circus troupe trying to flee Communist domination while battling amongst themselves. Adolphe Menjou is spectacular as a down-on-his-luck government functionary. Gloria Grahame is chilling in her scenes. Richard Boone and Cameron Mitchell lend professional support.