User reviews

The Circus is probably Chaplin's most underrated film. It is (easily) one of the funniest movies ever, and the inventiveness of such shots as the Mirror Maze scene and the closing sequence are nothing less than brilliant. What separates Chaplin from other comedian filmmakers is his ability to evoke a sense of pity and/or sympathy for his character. How can you watch the closing scenes of this film and, even after all of the laughter, NOT sense a bit of melancholia welling up in your heart? Truly one of the greats.

I enjoyed this a lot more the second time when I could see it on a very clear DVD print. I don't know why that would make a difference with the story, but it did as I found it very good for the entire distance, although that's just a scant 69 minutes.

In the story, Charlie Chaplin does his normally-great physical slapstick so well that he accidentally becomes a hit at the circus, which is run by a nasty man (Allan Garcia) who regularly beats his sweet step-daughter, played by a very pretty Merna Kennedy. Charlie, of course, gets smitten by her and comes to her rescue.

This movie has a different kind of ending that what you'd normally see for a comedy but it's inspiring as Chaplin performs a noble deed. (However, Kennedy's character is in question as she seems satisfied to marry either of two men. Huh?)

Chaplin's timing and clever slapstick routines never fail to amaze me. Even though silent films aren't seen by many people these days, it's works of art like this that will endure forever. This is not of one of Chaplin's more famous movies.....but it should be. I think it's one of his best.

The Circus was both my first silent film and the first film I've watched by Charles Chaplin. Being my first silent film i thought for sure i would be bored to death, but was i wrong. The film was really funny, made me laugh out loud. The comedy in this film is very different to the comedy in films now a days. Now a days most comedy films are big on the special effects and just lame humor. In the circus the actors have actual talent, they have to be very good at showing there emotion, like facial expressions and things like that.I was amazed on how well the movie was, Charlie Chaplin is great and i hope soon i can get my hands on some more of his films. I almost wish they could make a films like this today just maybe with some color, i think it'd be a great idea.

THE CIRCUS (United Artists, 1928) written, produced, directed and starring Charlie Chaplin, is a well-documented gem about circus life, mixing comedy and sentiment in the best Chaplin tradition, ranking this one of his finer yet neglected achievements of the 1920s.

In it, Chaplin plays a tramp who drifts at the midway of the circus after being wrongly accused of a theft and chased by a policeman. His escapades are mistaken as part of the act, which stirs roars of laughter from its audience. Because his circus has not been earning any profits, the ringmaster/owner (Allan Garcia) decides in hiring Charlie as his top attraction. However it is learned that Charlie is only funny whenever he blunders to his viewing public. Charlie soon learns from the abused Merna (Merna Kennedy), how valuable he really is, thus, making demands of quitting to his employer unless he ceases mistreating his stepdaughter, and offers him a higher salary, which he does. All goes well until Rex (Henry Crocker), "King of the High Wire," joins the circus and becomes attracted to Merna, causing Charlie to vie for her affections any which way he can.

With the circus being one of the more famous backdrops of many movie comedians and/or comedy teams ranging from W.C. Fields to Laurel & Hardy, The Marx Brothers to Martin and Lewis, THE CIRCUS stands out more for its ingenious use of difficult gags, comic timing and the effort that went into it to make every gag funny as well as realistically done. Rarely seen since its original theatrical release, THE CIRCUS came into full view again shortly after Chaplin's death in 1977. Newly scored and restored by Chaplin himself in 1968 (as mentioned in the new opening titles), with his singing of "Swing Little Girl" recorded on the soundtrack during the opening credits, my first experience with THE CIRCUS was in 1980 at New York City's Regency Theater, 68th Street and Broadway, where the revival theater (which no longer exists, having been demolished in 1998) paid a tribute to Chaplin with a series of shorts and features, including THE KID (1921), MODERN TIMES (1936) and THE GREAT DICTATOR (1940). Being surrounded by an appreciative audience laughing at a silent film made long ago indicated d THE CIRCUS has stood the test of time and what a comic genius Chaplin was, especially when demonstrating how difficult performing comedy can be as his character finds he has to be funny and isn't, and at the same time showing how poor he is as a comic to the circus staff and how funny he is as a bad comedian to the movie audience. While sitting in the dark movie theater of all ages at the Regency, the biggest laughs occurred during the opening as Chaplin hides from the law inside a fun house surrounded by mirrors and later making a fool out of the rival pickpocket (Steve Murphy) as they each attempt to fool the policeman by pretending to be movable statues; Charlie's encounter with a lion while locked inside the cage; and the biggest topper of all being Charlie doing a tight rope wire act and trying to balance himself while loose monkeys crawl all over him, thus disrupting his act. These same gags obviously brought forth many laughs in 1980 as it did in 1928, and continue to do so today. In between these gags comes pathos, which Chaplin also succeeds without hurting the continuity.

Chaplin staff players regulars such as Harry Bergman as the Clown, and Stanley Sanford as the Head Property lead fine support. Others in the cast include Betty Morrissey as The Vanishing Lady; George Davis as The Magician; John Rand, Albert Austin and Heinie Conklin in smaller roles.

In spite of its true greatness, it's hard to believe how underrated THE CIRCUS has become, not having the appreciation as Chaplin's own masterpieces, THE GOLD RUSH (1925) and CITY LIGHTS (1931), even by Chaplin himself. It's been said that during the making of THE CIRCUS, Chaplin was going through personal problems of his own, including divorce and the passing of his mother. It's even more ironic the elimination of THE CIRCUS from Chaplin's own autobiography published in 1964 while his other works were profiled to great extent, regardless of his nomination as Best Actor and Best Comedy Director by the Academy for 1927-28 awards. At least this has been amended through its reissue throughout the years to a new generation of movie lovers.

Distributed onto video cassette as part of the Chaplin centennial collection in 1989, THE CIRCUS, currently on DVD, made its presence known on television in the height of cable television, notably on the weekly series, "Dead Comics Society" on the Comedy Channel hosted by Kevin Kline around 1989-90, followed by American Movie Classics (1997-2000) and Turner Classic Movies where it made its debut in 2003.

THE CIRCUS, a 70 minute comedy, is a fine study to film students and anyone appreciating and supporting the art of silent comedy. (****)

Although movie buffs seldom mention `The Circus' in the same breath as Charlie Chaplin's more touted masterpieces (`City Lights,' `Modern Times,' `The Gold Rush'), this film contains some of his best work manifested in a number of ingenious sequences. Chaplin once again dons the role of the tramp, this time having all sorts of adventures (and misadventures) under the big top.

In order to evade the police who suspect him of being a thief, the tramp ducks into a circus tent and acts as if he is part of the show. The cops follow him into the tent and try to apprehend him, with comical results. The crowd goes wild, believing all this was planned ahead of time. The audience's reaction is so strong that the tyrannical circus owner hires him on the spot. When it is discovered that Chaplin cannot be funny intentionally, the owner gives him a job as a prop man, clumsily lugging equipment around the tent as part of the show. Again the crowd roars its approval at his inadvertent antics, and soon the tramp is the circus' main attraction. In the meantime, he falls in love with the owner's daughter, a bareback rider who herself loves the tightrope walker, and romantic complications ensue.

`The Circus' is an all-around Chaplin effort. In addition to playing the lead role, he wrote, directed, produced and edited it, and composed the music as well. It is a meticulous production on all counts, with each sequence choreographed to elicit the maximum capacity of laughter from the audience. The scenes in which the tramp is pursued through a hall of mirrors, trapped inside the lion's cage, and forced to double for the missing tightrope walker stand alongside his finest achievements. The ending sequence is especially heartrending, as many are in his films. Here is a movie to be cherished by all fans of Chaplin, but appreciated even by casual viewers. This is because it achieves a rare blend of comedy and poignancy through appealing, sympathetic characters and with genuine honesty adding a note of realism to counterbalance the clowning.

When Charlie Chaplin first plods onto screen in The Circus, he has his back to us. Unusual for any other leading man, but Chaplin was such a legendary icon, even now when he was only making one film every few years, his mere outline was enough to announce his presence. But with such a status came a certain weariness, and The Circus is one of a number of pictures in which Chaplin lampoons the whole process that made his name.

A lot of the business in The Circus is about Chaplin's ability to be naturally comical, and the shortcomings of being an employed comedian. It's interesting how, more than any Chaplin picture that came before or after, The Circus seems to be putting us (the audience) into the little tramp's experience. There are a number of point of view shots, and often characters addressing Charlie are virtually staring into the lens, as opposed to the profile shots he usually stuck to. Even the shots in the ring do not give us the perspective of the big top crowd, and instead the camera looks in on the action from the performers' entrance. The camera is always in the sawdust and never the stalls. This is, from its very first scene, clearly a backstage movie. It may seem a subtle shift but Chaplin is certainly drawing us more to focusing on the lives of circus folk and away from thinking of the circus as entertainment. It's notable too that Chaplin's best comedy vignettes occur outside the big top.

It seems Chaplin was increasingly giving larger and more substantial roles to his leading ladies. Oddly however, while Merna Kennedy plays the most fleshed-out female lead of any Chaplin picture to date, she seems less of a focus for the camera, which barely lingers on her. From what we can see she is not bad, but she lacks the calm dignity of Edna Purviance and Georgia Hale, or at least does not get to display such a thing. More reassuringly, there is a decent-sized part for Chaplin regular Henry Bergman as an old clown. Bergman had been a comedy performer for decades, and had even worked in a real circus in his youth, so he certainly knew what this role was about. With some heartfelt facial acting amongst all his usual huffing and puffing about, it is probably his finest performance.

If The Circus is known for anything, it tends to be the very fact that it is not as well known as many of Chaplin's other features. Chaplin himself does not even mention it in his autobiography (the imaginatively titled "My autobiography" – but then again, being the legend that he is, he doesn't need a punchy title to promote his own name). But far from neglecting the work, Chaplin gave it surely his neatest and most delicate update-job when he came to overhaul all his silent features for re-release in the 60s and 70s. Unlike The Kid and A Woman of Paris, from which he cut several scenes, and The Gold Rush, which he all but butchered in 1943, The Circus is left intact. He also treats it to its own theme song, under which the opening credits are inter-cut with shots of Kennedy on the trapeze, creating the most tender and lyrical opening of all his pictures.

The Circus (1928)

Charlie Chaplin had a string of silent feature films in the 1920s that were and are his classics, ending with a couple of amazing capstones in the 1930s. And though he is famous for having carried on the silent tradition well beyond everyone else (understandably, given his style), this one finished shooting only three weeks after the first talkie, so this is a true cusp film. And it took two years to plan and film (starting in 1926).

And in some ways this is the best of them all for the simple reason that it avoids that occasional cloying sentimentality that you either love or tolerate in his other classics. It's a pure, light, clever, cinematically sophisticated comedy. And the physical tricks, the timing of certain gags, is breathtaking. It also has a deeply satisfying ending, shot in 1927...which you might see echo of in the last moments of "Being There" with Peter Sellars, from 1999.

"The Circus" is just over an hour and it never flags, never repeats, is never strained. Chaplin had the rare ability to do the most outrageous things and make them seem perfectly plausible--even though we know better. It's partly because he would do dozens of takes, "perserverance to the point of madness," as he said, until it felt right.

A note on the sound. This was a true silent film on its release. In the 1960s and 70s, Chaplin created musical soundtracks, composed by himself (and made edits, as well) for his earlier features. The song sung over the opening credits on the Warner Bros. DVD is Chaplin himself, as an old man, singing a song he composed. It's not really legit, in terms of period (1928), but it feels good. The music is fairly innocuous, but a bit too emphatic at times. Still, it's better than the add-on tracks most silent films get these days, and Chaplin was smart to have paid it attention.

Most of all, this is funny, uncompromised Chaplin genius. Maybe the best way to get introducted to his large body of work. See it!!

THE CIRCUS may well be one of the best of Chaplin's silent comedies, especially enjoyable from the point where he inadvertently becomes the hit of the circus when he pinch hits for someone at the last moment. He gets all the audience laughs from that point on--and deserves it. His clowning here is among his most acrobatic, most physical, and at the same time, there's a bittersweet charm to his romance with one of the lovely circus performers--MERNA KENNEDY.

All of the circus stunts are beautifully performed and the story maintains interest as the Little Tramp goes from sudden success to sudden failure--and then back again.

HARRY CROCKER is good as the romantic foil for Merna Kennedy, a tightrope walker whose act is later performed with even more daring results by Chaplin in one of his best acts.

Altogether delightful romp, with the Little Tramp as a lovable scamp!

Despite winning Chaplin an honory Oscar in 1928 "The Circus" isn't really regarded as one of his great comedies and yet it has got some great visual gags as well as a little less sentimentality than some of his later films. Of course, there's still a girl who needs rescuing, in this case from her tyrannical father, and once again he's The Tramp, bringing as much humanity as slapstick to his routines and confirming his status as one of the greatest of all screen actors and not simply a great comic. The circus setting was, of course, his tribute to clowns everywhere so while this may indeed be minor Chaplin it is nevertheless a deeply affectionate picture and an essential part of the Chaplin canon.

This is my first silent film and I was pleasantly surprised by it. I wasn't sure how I was going to like it, but I ended up really enjoying it. The humor seemed to be very ahead of it's time even though it was done it was all in black and white and the dialogue was only presented with intertitles. Although humor was at the forefront of this movie, it also had a compelling love interest, it had conflict, and the pacing was perfect. I can not think of negative aspect of "The Circus" that would deprive it of a perfect score from me.

I would rank this is an above average Charlie Chaplin film. I enjoyed it more than the Gold Rush, but probably not as much as City Lights or Modern Times. It is funny, charming and really shows off all of Chaplin's talents -- acting, directing, singing and more -- but just did not have a solid enough story to catch me.

I really enjoyed the scenes with the donkey, and the clown routines were sort of funny, but I am not sure how to categorize the film. It is not pure comedy, it is not satire, it borders on romance but does not quite go all the way... who knows? What I do know is that seeing this film made me want to see more Chaplin. I have now seen almost all his major work, but always crave more.

Perhaps this doesn't have quite the reputation of Charlie Chaplin's greatest movies, but it is very entertaining, and it's a good showcase both for his comic genius and also for his skill as a film-maker. It's full of very funny routines along with plenty of action, with enough of a story to make you care about the characters, too.

The setting in "The Circus" certainly gives Chaplin a lot of ready-made material, and he makes the most of it, coming up with hilarious routines involving everything from a hall of mirrors to a lion. His 'Tramp' character gets involved in all kinds of amusing predicaments that involve several other interesting characters. Most of it keeps a pretty light tone, which makes the serious parts that much more effective. And there are several sequences which, though perhaps not as well known as some of the scenes from other Chaplin films, are quite funny and creative.

With plenty of humor and Chaplin's trademark sympathetic characters, this is a very enjoyable feature for anyone who appreciates classic comedy.

Although I didn't actually see the whole movie, "The Circus" is a hoot nonetheless. Charlie Chaplin plays a guy who joins the circus and before too long gets his own act. You'll die laughing in the scenes where he's attached to the rope. I actually watched it on TV while living with a family in St. Petersburg, Russia, and they laughed their heads off just watching him perform his stunts. That shows why these silent comedies were so great: you can laugh even if you don't know what they're saying. It's truly movies like these that make life worth living, and Chaplin remains possibly the greatest comedian in all history. 10/10.

I like Charlie Chaplin a lot, and I love a lot of his films. While I consider The Gold Rush, Modern Times, The Great Dictator and especially City Lights better films, The Circus is still a must watch for any fans of one of the greatest geniuses who ever lived(that is my opinion of course).

The Circus while it is very funny is also very sweet and beautiful. It looks lovely, and has a beautiful score. I also loved the recurring despondent theme of love, which provided The Circus's more touching moments, but there are also some truly brilliant slapstick set-pieces especially when Chaplin walks a tightrope with falling trousers and a clinging monkey, while the chase through the hall of mirrors and the scene in the lion's cage are also inspired. Chaplin's direction is superb, and he is even better in the title role of the Tramp.

Overall, a great film while not quite Chaplin's best. 9/10 Bethany Cox

This is easily one of the best Chaplin Movies.It has a great sense of humour,very interesting cinematography and very well written characters.This movie contains some of the funniest gags I have ever seen in my life,and it is definetely one of the greatest comedies ever made. The whole movie was very interesting,it kept from start to finish.The script had a very good structure,filled with great characters that become even more interesting due to some awesome acting by everyone.Also the ending is epic.Chaplin sympolises the circus as the cinema that is heading into a new direction,while the Trump(being obviously him is just not coming with them,and continues with his life like he used to).It is so clever,yet so simple.And that is the magic behind Chaplin.He uses music,characters,gags,to express himself and in the end make you cry.

One of his least known, but definitely one of his best, Charlie Chaplin's The Circus is a moving and very funny film about the famous Tramp who joins a circus and brings love and joy to all around him. Of course, it is much more than that as we witness some incredible stunts by the versatile Chaplin, as well as some great camera work that was undoubtedly way ahead of its time.

Perhaps simply because it is in black and white, or it is without dialog it is a sad truth that great auteurs such as Chaplin and Buster Keaton have been mostly forgotten by today's moviegoers. For this reason, I find it very important to continue to support their work and look for further and deeper truths. What can be gleaned from this is astonishing. There is so much sadness, joy, anger, and fear lurking at the surface it takes multiple views to catch it all. What Chaplin does with this simple story, his incredible array of stunts and comedic situations, and that memorable little Tramp make for one of the greatest of all silent films; one worthy enough to be mentioned with City Lights, The Gold Rush and the other Chaplin classics. Even more than that, it is a memorable event to watch this unfold; one to always think of and cherish for always.

I consider Chaplin a true movie master. I enjoyed "The Gold Rush" and "Modern Times," and think that "City Lights" is one of the five best movies I have ever seen. So I think I definitely "get" Chaplin.

All that being said, I can see why "The Circus" is often overlooked when discussing his films. I suppose it's blasphemous to criticize ANY Chaplin film (as I write this comment, not even one lukewarm review has been written for this film), but I think this film lacked pathos and depth. Certainly nothing wrong about this film, but nothing really great about it either. For me, it's not the humor that makes Chaplin's films so great, it's the pathos. And in "The Circus," I think he failed to pull this off.

Generating laughs after inadvertently interrupting a big top routine, a tramp is offered a job by a circus in this Charlie Chaplin silent comedy. The film is mostly a series of circus-themed skits thrown together, but there are several interesting ideas at hand as the manager avoids telling him he is their biggest attraction (to avoid paying a handsome salary) and as the tramp is only ever able to make the circus audiences laugh when he is not trying to be funny at all. There is also a touching subplot in which he tries to help an abused circus worker and the film creates an authentic relationship between the pair that never once feels sentimental. If there is one thing to hold against the film though, it is the fact that the first fifteen minutes (before Chaplin is invited to join the circus) is far funnier than anything else afterwards with the subsequent movie never quite recapturing the hilarity of Chaplin running amok in a house of mirrors, running in synchrony with a thief and repeatedly whacking the thief on the head when pretending to be mechanical. Still, this is an amusing movie from start to finish, and one with something surprisingly intelligent to say about how the best humour is spontaneous rather than rehearsed.

Made between two masterpieces, The Gold Rush and City Lights, Charlie Chaplin's The Circus features The Little Tramp at the top of his game with ample amounts of slapstick genius on display. Frenetically paced (71 minutes) Chaplin sacrifices character development in favor of going for the laughs and while it fails to achieve the touching sentimentality of City Lights it does have its heart tugging bittersweet moments to go along with some classic Chaplin sight gags.

Attending a traveling circus Charlie is mistaken for a pickpocket and pursued about by cops and the real thief. Stumbling into a performance The Tramp is a comic sensation and hired on the spot by the cruel, daughter abusing, cheapskate circus owner. Charlie falls for the girl and protects her with his leverage as the shows biggest act. Just as hints of romance between the two begin to take form tall, dark and handsome Rex the wire walker arrives on the scene and sweeps her off her feet. The Tramp goes into a funk, his performance suffers and he is fired but then volunteers to to sub for the AWOL Rex on the high wire.

Chaplin's scenes on a high wire with a monkey biting his nose, climbing into a lion's cage and a chase through a fun house that culminates in a hall of mirrors is as good as Charlie (ie: all of twentieth century film) gets in the slapstick acrobatic poetry department. He also does a wonderful job of conveying his melancholy in a variety of moods.

Chaplin's overall direction however seems distracted with little attention payed to detail outside his outstanding performance as he works within the confines of three or four rotating sets in which design and compositions are dull and sparse, the editing and continuity a touch ragged. Nothing however can get in the way or surpass the comic brilliance of The Little Tramp and The Circus offers up some of his best.

This was the first silent film that I had ever seen. It was better than I had anticipated.The story was easy to follow and the humor was a funny that is not matched in movies today. The fact that the film is silent added to the comedic persona played by Chaplin. The exaggerated movements and expressions have a great impact on the effect. The chase through the mirror maze would not be as funny had it not been the tramp character and also would not be as funny with sound. The effect of the applause at various points in the film were amplified by just being able to see the audience clapping furiously. I would recommend this film if you are into goofy and clumsy characters and a simple story to follow.