Polly of the Circus

This is probably the weakest of Marion Davies' MGM talkies because of the story and the likely cuts (it runs only 70 minutes). But Davies is fine as the spunky circus girl who falls for a small-town parson (Clark Gable) despite all the warning signs.

Based on a 1906 Broadway play and the 1917 silent films version (which starred Mae Marsh), the story seems a tad old fashioned but in 1932 America was still largely rural and hick towns maintained their 19th century prejudices.

Anyway, Polly causes a sensation when the circus comes to town and the hicks cover up the pictures of her in her trapeze outfit with pieces of cloth. But they turn out for the show. When someone in the audience yells out something rude, she makes a mistake in her aerial act and falls to the ground. She's taken to the parson's house (because it's close by) to recuperate. They fall in love and get married.

But the hayseeds don't want a parson who's married to a circus girl and he loses his job. Convinced she's causing his career harm, she picks a fight and goes back to the circus. Will love win out over small-town prejudice?

Davies is very good and Gable (still a rising star at MGM) is ok as the parson. Raymond Hatton is snarky as the drunken caretaker, and Maude Eburne is good. There's also C. Aubrey Smith as Gable's uncle, David Landau as the circus manager, and Ray Milland has a small role as a church usher.

Worth a look.

Polly of the Circus (1932)

** (out of 4)

Disappointing and way too corny romance between a bad girl trapeze artist (Marion Davies) and a preacher (Clark Gable). After an accident while working, Davies is forced to stay at the home of Gable and soon the two fall in love but the church objects to their relationship. This is an extremely disappointing film from MGM who certainly had better luck in their other 1932 film to be set in the circus and that of course would be Tod Browning's FREAKS. It's interesting to note that none of the circus performers from that film can be seen here. With that out of the way, this film here offers very little in terms of originality as it follows the same guidelines of countless other pre-code stories from the era. We know that opposites are going to attract. We know the church will object. We know this issue will cause problems in the relationship. We know what this is going to do and so on and so forth. The movie starts off rather good as the two stars work well together but it quickly falls apart and ends up being rather boring. Davies has a few strange line deliveries but for the most part she fits the role quite well. She's very believable as this character and brings a lot of life to it but the screenplay doesn't allow her too much as her character is written rather one sided. Gable gives another very impressive, pre-fame performance and I must admit that my respect for him grows each time I see one of these forgotten films on TCM. He manages to bring a lot of passion and fire to the role and delivers some nice work. C. Aubrey Smith is wasted as the Reverend who objects to the romance. Ray Milland can be seen quickly as an usher walking a drunk out of church. Fans of Davies and Gable might want to check this out but I'm sure most will be disappointed with this film that doesn't give the stars much to work with.

Davies stars as a trapeze artist who comes into contact with a young clergyman (Clark Gable). Eventually the two develop a relationship and much to his family's dismay, they marry.

The film begins to fall apart here with a series of long winded, hard to swallow scenes. The married couple has a falling out over his devotion to the church. Marion realizes for the first time that she is bad for her husband's career. This is so, despite the fact that she has been told this from the moment the two became interested in each other.

After stating her displeasure with his dedication to the church, she turns around and decides she must leave her husband so he can further his career. She is willing to do this because she loves him so much. Marion's plan is to divorce her husband, but when she is told by the reverend (played by C Aubrey Smith) that this is impossible she comes up with another plan. She will go back to the circus and fall during the trapeze act. Committing suicide so then she will no longer be a detriment to her husband's future.

As a rule, I have no problem with ridiculous melodrama. But the screenplay is weak and the acting staid. This film is based on an old chestnut of a play that was probably outdated when it was first filmed in 1917. The wrong side of the tracks girl and the clergyman is a great story in theory, but the film fails to make the relationship believable.

POLLY OF THE CIRCUS (Metro-Goldwyn-Mayer, 1932), directed by Alfred Santell, stars Marion Davies in the title role taken from the 1907 play by Margaret Mayo. Previously filmed for Goldwyn Studios in the silent era (1917) starring Mae Marsh, this early sound retelling is better known more for the youthful presence of Clark Gable early in his career. Though Davies was a bigger marque name than Gable at the time, and deemed suitable as Mademoiselle Polly of the circus, many regard Gable miscast as the Episcopal minister. Having already played a man preaching the word of God as a Salvation Army officer in LAUGHING SINNERS (1931), the same year he enacted such villainous characters, namely in NIGHT NURSE (Warner Brothers), Gable was slowly developing from tough guy to man of romance without losing his he-man exterior. With material brought up to date, this 69 minute screen edition gives some idea as to how either the play or silent screen adaptation were earlier presented.

The story revolves around Polly Fisher (Marion Davies) a trapeze artist for the Nailor Circus on a train bound to the Vermont town of Oronta. Many in the troupe notice the passing billboards featuring Polly in tights with her legs covered by bloomers. Because Oronta is a conservative town where residents find Polly's poster indecent, Polly seeks to find the one responsible for disfiguring her posters. She heads over to the church to confront the Reverend John Hartley, mistaking the much elder Reverend James Northcutt (C. Aubrey Smith) for Hartley. She becomes surprised to find the real Hartley (Clark Gable), Northcutt's nephew and rector of the church, to be a much younger man. Learning the one actually responsible for the improved billboards, Polly still insists on performing in the manner of her photographed poster. During a matinee performance doing a trapeze act where John is seen seated in the audience, Polly meets with a serious accident, plunging 50 feet to the ground. With the hospital being too far away, Polly is taken to John's nearby ministry house where she, under doctor's orders, must remain for several weeks, much to the dismay of Downey (Raymond Hatton), a maintenance worker who feels Polly to be immoral. John agrees in having Mrs. Jennings (Maude Eburne) look after Polly during her weeks of recuperation. During that time, Polly becomes a changed person having been reading the Bible in her spare time and soon becomes John's love interest. Under the objections of his uncle, John marries Polly anyway. Finding that no other congregation will take him in as their minister, John earns his living selling Bibles at $28 a week. Realizing John's first love is his church, Polly must come to a decision to what she can do to save her husband from any further disgrace.

Others in the cast include David Landau (Beef); Guinn Williams (Eric); Ruth Selwyn (Mitzi); Clark Marshall (Don) and Little Billy (Half-Pint). Look fast for the uncredited Ray Milland in three brief scenes.

As much as the role of John Hartley could have been played by either a Leslie Howard or newcomer Franchot Tone (not yet working for MGM), Clark Gable's presence and the well-staged trapeze acts (performed by professional doubles) makes this worth watching. It's also one movie where one wishes Gable performed with a mustache, which would have made him appear a much stronger character. His trademark mustache, however, wouldn't happen until the latter half of STRANGE INTERLUDE (1932). Yet, when he reunited again with Marion Davies one last time for CAIN AND MABEL (Warner Brothers, 1936), Gable went minus mustache one last time on screen. Though both films starring Davies and Gable are agreeable productions, they each lack any sense of greatness.

Available on DVD, POLLY OF THE CIRCLE did have some cable television showings over the years, namely Showtime (2007) and more frequently on Turner Classic Movies. (**)

A small town is aghast when "Queen of the Air" aerialist Marion Davies (as Pauline "Polly" Brown) arrives with her circus. Promotional posters depicting Ms. Davies in costume are considered too revealing, and concerned citizens cover her legs. During Davies' trapeze act, a heckler shouts, "Hey Polly, where's your pants?" This causes Davies grief and she goes to recover at the nearby home of athletic minister Clark Gable (as John Hartley). You should be able to figure out what happens next...

This is a re-make of "Polly of the Circus" (1917), which starred Mae Marsh and was the first Samuel Goldwyn production...

In the original, Ms. Marsh was a rider who wore a dress; although it was cut above the knees, nobody complained. Marsh went back to the circus to be with ailing "Toby" (the equivalent of this version's "Beef"). The attempts to modernize the story are not successful. Davies and Gable (still not settled on the right pluck for his eyebrows) look good together, but are not convincing in their roles. Watch out for the duster (Raymond Hatton) and the usher (Ray Milland). The too few circus scenes are edited well.

***** Polly of the Circus (2/27/32) Alfred Santell ~ Marion Davies, Clark Gable, Raymond Hatton, C. Aubrey Smith