Funamboli

There are only so many stories, especially stories of love.

This is rather ordinary. It consists of three threads.

The first is of a relatively plain girl who loves a star, but he loves another, a vamp who doesn't care for him but manipulates him. But our gal sticks with it, even though the guy is an unfaithful, lying drunk. Eventually she does something heroic and saves his reputation. Impressed, he falls in love with her. Ho hum. That someone once related to this is mildly interesting.

And then there's the spectacle of the circus. In 1929, this would have still thrilled, what with the risks and spectacular falls.

But the reason to watch this today is because the "plain" girl is played by Clara Bow! Only a couple years before, this was the sexiest woman in the world, our first redheaded film sex symbol. She, the IT girl. Here, she is absolutely the least attractive girl in a skimpy costume. Here, she lacks all the poised seduction she had mastered before. Its because she speaks, I think.

The stories are well known, how she froze with insecurity. How audiences abandoned her instantly when hearing her low class, Yiddish-tinged Brooklyn squeak. This, the sexiest woman in the entire world of media.

Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

Clara Bow (Pat Delaney) loves star tightrope walker Richard Arlen (Larry Lee), but he loves his partner Kay Francis (Zara Flynn), who is two timing him with the third partner David Newell (Tony Barretti).

Acting and some of the dialog is OK, but there is not much to recommend the picture for. Other than the tightrope walking, there are few circus acts to be seen.

For early talkie fans this is of interest to see Bow's contrasting style vs. early Kay Francis. Beautiful boozer and trapeze artist Francis comes out ahead in the intrigue department. She vies for the affections of fellow trapezer Richard Arlen with bareback-rider Clara Bow. Kay's romance with Arlen is "just pretend" as she is simply trying to earn money for her and her husband (David Newell) like any good wife until they can get their collective feet on the ground. Kay isn't so much complicated as she is busy complicating. The story is often a bit stodgy and Bow hasn't quite honed her talkie skills as an actress -- tends to overplay, but has some moments of genuine emotion.

This isn't the first time that I have observed that the Male actors in this transition period had been too off the mark to be anything less that an eye-sore. It is always left to the poor women to carry the movie on their shoulders. In this movie too, not only Clara and Kay, but other women, the two uncredited co-showgirls and May Boley (the mother figure) too were good, especially Roy Barnes (the Pa against the Ma) and Charles Brown (the Assistant to Pa?). Newell was still OK, but the real failure in execution was Arlen.

Clara played the role of a teenage show girl - and I was surprised to see she did look mid-teen, even at the mid twenties, some of the activities, I don't know directed, or naturally, like scratching her legs while talking to Arlen, showed the 'girlish' mind. She looked quite lovely. may be a bit overacting by today's standard, but I would rather say it was quite good, considering that this was one of the transition era movies, when talkies were not even infant, may be almost in pre-natal ward.

Kay has played a bit of complicated role, of being in love with the lesser of the group, but ready to flirt with the star, so that the bacon is ensured at home, even going to the extent of hiding her marriage, so that the allure on the star isn't lost. Well, one could call that manipulative/ heartless, but it might as well be survival instinct. After walking out, the couple had miserably failed, and were on almost dole, till the Star brought them, or her, back.

One probably weakness I could find - sacking of the girl - the owner, and his wife behaved almost like parents of the girls, and this looked to be the favorite 'daughter'. Sacking was really unexpected, but may be he said that at the heat of the moment, and the girl took it seriously. Unless she was thrown on street, there won't have been the drama.

If there were any doubts about Clara Bow making the transition from silent to talkie films, then this ought to put those to bed. That said, it's not the most imaginative of plots that sees her "Pat" and married, mischievous and dipso circus trapeze artist "Zara" (Kay Francis) seemingly squabbling over the attentions of the handsome but rather drippy "Larry" (Richard Arlen). Now we know that the latter lady has an ulterior motive but neither of the others do and so as the emotions kick in, well let's hope they have a safety net! We also discover that alcoholism might be contagious and bitterness and jealousy are amongst it's best friends, so things start to look quite precarious for the airborne "Larry" too as the poor man isn't quite sure where to turn - or fall! It is a bit wordy, procedural and perhaps even earnest at times, but there is still plenty active swinging going on - even if I doubt either the studio nor their insurers would have allowed Miss Bow much more than four foot off the ground. These films were all an integral part of cinema's recalibration to sound and at times there's a bit of rigidity to the set piece scenes here as it looks like both Arlen and Bow are a shade uncomfortable finding their microphone spots from time to time. The lively circus scenario allows for plenty of fluidity from a production and direction that delivers quite proficiently a story that does just about enough.