THE GREATEST SHOW ON EARTH

US, 1952, 153 minutes, Colour.
Betty Hutton, Cornel Wilde, Charlton Heston, James Stewart, Gloria Grahame, Dorothy Lamour, Lyle Bettger.
Directed by Cecil B. De Mille.

The Greatest Show on Earth won the Oscar as the Best Film of 1952. Most consider it did not deserve this award. It was meant to be a tribute to its producer and director, Cecil B. De Mille. It was to be De Mille's second last film. De Mille had had an extraordinary career in Hollywood from the early 20s. He made his name with biblical spectaculars such as The King of Kings and The Ten Commandments. In the 30s he turned to history - the Roman Empire with Cleopatra and The Sign of the Cross and American history with The Plainsman, Western Union, North West Mounted Police etc. In the 40s he had the West in Unconquered and the Bible in Samson and Delilah. He then turned his attention to the circus and produced a most entertaining light circus film. Gathering together many popular stars of the time, he cast Charlton Heston in one of his early major lead roles. (Heston was then to be his 'Moses' in The Ten Commandments.) Another unusual piece of casting was James Stewart disguised as a clown because he was a doctor afraid of being arrested for mercy killing. There are plenty of colourful circus scenes, a most spectacular train crash, and melodramatics and romance. The film certainly shows the showmanship of Cecil B. De Mille.

1. The tone and emphasis of the title, a Cecil B. De Mille film, Cecil B. De Mille presents the circus. Expectations of a De Mille spectacular? How well were they fulfilled? De Mille's own narrative about the life and effect of the circus? Its tone, his emphases? The special effects of the film, the circus acts, the train crash? Did it merit an Oscar for the best film of the year?

2. The overall success of the film in terms of entertainment, for the widest possible audience? Why? Colour, spectacle, music, the songs?

3. The De Mille approach to circuses: the world of the Big Top, the range of acts presented during the film and their stylish presentation, the emphasis on spectacle and variety? Why do audiences enjoy such acts? De Mille showing the audience responding in the film? which particular acts were most striking, why? The emphasis on freaks, clowns, skilful acts, daring, danger? Why the appeal of each?

4. De Mille's emphasis on life behind the circus? The world of money and finance, deals, crooked deals, criminals, plans for take-overs, plans for the season, contracts and negotiations, the harshness of the sawdust in people's veins and the subjugation of human feelings? De Mille's presentation of all this world, attitude towards it? Audience interest in the back scenes?

5. The presentation of management, the executives, the family traditions of the American circuses, winter quarters, the practical manager, the various practical details, the sequences of putting up the tents and the emphasis on co-ordination, transport arrangements, trains, arrivals in towns, advertising? How well were all these things visualised?

6. The portrayal of characters within this framework of the big circus? The effect of understanding the characters via the circus and their involvement in the circus? The good and bad qualities of each character, fame, success, loyalty to the circus?

7. The melodramatics of the opening situation, Brad and his manoeuvres to get a whole season for the circus? The contract with the Great Sebastian? The necessity of Holly's not going in the centre ring? Human clashes? The build-up of tension as it continued throughout the film?

8. The character of Brad? An early Charlton Heston characterisation? The tough and practical manager, his skill in overseeing everything? His practical dealings with everybody from workers to performers? Their loyalty to him? How much was sawdust in his veins? His subjugation of human feelings? His managing people, even Holly? His harshness towards her? His welcome of Sebastian and buying him off the police fine? His decision about nets? His clashes with criminals? Friendship with Buttons? The various arrangements? The girls attracted to him, Holly's infatuation and love as well as her hostility? Angel and her wanting to keep house? His priorities? The effect of his injury on the train? The circus and his life and his change of perspective at the end and the irony of Holly wanting the show to go on? A rounded character?

9. Betty Hutton and the liveliness of Holly? A character, a type? Her role and life in the circus, building up her act, her ambitions and zest? Her devotion to Brad? Her being in everything and in so many acts? Trapeze, singing? The rivalry with Sebastian and the initial encounter? The rivalry between the two and the dramatics of the various acrobatic and aerial acts? The stupidity of the rivalry and her reaction to Sebastian's being hurt? Pity and love? The crash and her realisation of love for Brad? Her energy in the show going on? An appropriate heroine for this kind of film?

10. The contrast of Sebastian with his flamboyance, his arrival? His way with women, the various lines that he took, the romantic French lines? His response to the rivalry with Holly? The skill of his acts? His politeness and kindness in allowing Holly her way? The wisdom of his taking the risk and his being hurt? His pride in walking out of the ring? His cheerfulness and yet his dead hand? His selling things and his yearning for the high wire? His hand moving and Brad's challenging him? The possibility of his recovery?

11. Angel, the girl who has been around? Her worldly wisdom, attitude to Sebastian, to Phyllis, to Holly, to Brad? Her pleasantness, hard-working. involvement in her acts? In so many of the acts; the sequence of her conversation with Holly in the carriage? Interfering? Curt's jealousy and the risk of the elephant's foot on her face? Her decision at the end and co-operation?

12. Phyllis and the providing of comedy by a dumb, humorous type? Dorothy Lamour's reputation and style? The humour of Bing Crosby and Bob Hope in the audience?

13. Curt and his jealousy, his intensity, his fights? His league with the criminal? The build-up to his being sacked after his attempt on Angel's face? His decision to rob the train? After the robbery and his reaction to Angel's possible death in the crash, his warning them in the car?

14. The character of Buttons and James Stewart's style, the irony of his always being in makeup? The mystery, his mother, his being a doctor, the gradual revelation of the truth, killing the person one loves? The police, the fingerprints, the crash, his decision to help Brad.

15. The spectacle of the smash and the way it was filmed, the consequences for the circus, Holly, the parade, the final performance?

16. Audience response to the blend of spectacle, entertainment, joy, an optimistic view of human nature?