Tonight (tomorrow) in the wee hours on Turner Classic Movies: three silent features about circus clowns.
12:45am (EST): He Who Gets Slapped (1924)
The very acme of over-the-top storytelling, based on the play by Leonid Andreyev and directed by Swedish director Victor Sjöström (rendered “Seastrom” in most American advertising). In this one, Lon Chaney plays a scientist whose life’s work AND girlfriend are stolen by a devilish Baron, who compounds the humiliation by slapping him in front of all his colleagues, who then proceed to laugh at him. Traumatized, he naturally becomes a circus clown whose entire job is to re-enact this same humiliation night after night after night. THEN, to top it off, that Baron shows up one night and begins attempting to steal the NEW love of his life (Norma Shearer). This of course is too much and Chaney does what he can to prevent it. But this is a tragedy — don’t go looking for a happy ending. Also in the cast are John Gilbert and two honest-to-God clowns, Ford Sterling and Clyde Cook. This was one of the first movies released by the newly-formed MGM.
2:15am: (EST): Laugh, Clown, Laugh (1928)
Loretta Young was all of 14 when she played Lon Chaney’s love interest in this creepy but tragic romance, directed by Herbert Brenon. Based on an earlier stage play by David Belasco, and starring Lionel Barrymore, Laugh, Clown, Laugh (1928) tells the story of Tito, a circus clown who finds a baby and raises her as his daughter (Loretta Young).
“Yes! Please powder my distinctly prominent nose, my dear!”
When she grows to young womanhood Tito has the horrible predicament of falling in love with her — the creep! If that weren’t dilemma enough, the girl falls in love with a rich, young suitor. Tito solves it all (I can hardly be spoiling it, can I? the ending is pretty famous) with a spectacular death scene in front of a crowded circus audience. This story is one of the origins of the “sad clown” motif, and the film was the origin of the popular song by the same name. Nils Asther also in the cast.
3:45am: (EST): The Circus (1928)
Despite being an estimable hit in its day (the 7th most successful film financially of the silent era), today The Circus is the least well known of Charlie Chaplin‘s silent comedy features. Why might that be? Possibly because it is more “thinky” than “feely”. The film (which may have been inspired by Max Linder’s 1925 swan song The King of the Circus) begins with the Tramp fleeing a cop on a circus lot after being framed for a theft. His flight accidentally takes him into the middle of the circus ring where the audience, thinking he’s part of the show, greets him with gales of laughter and storms of applause. He is hired as a clown and turns out to be terrible at it. Meanwhile he falls in love with an equestrienne (Merna Kennedy —Lita Grey’s best friend) who makes the mistake of being nice to him. In due course she falls in love with Rex, a tightrope walker (Harry Crocker), a plot point that is not only reminiscent of The Tramp but anticipates Todd Browning’s Freaks (1932). In the end, the circus blows town, but the Tramp elects to string along alone. The image of him sitting on a log as the show (and his girl) leave without him is at once striking, moving and, well, kitschy, in a black velvet painting kind of way.
So, this can work on a couple of levels. At its most accessible, it’s set in a circus, and children love the circus. It’s possible to enjoy this film without having a contemplative brain in your head. After all, in one scene Charlie is walking a tightrope with his pants down, with monkeys crawling all over him (see above. It’s one of the highlights of the film). At another remove, however, The Circus is terribly self-conscious. This is a movie about a lonely clown who is having trouble being funny. That’s a formula that may be thought provoking but is probably intrinsically unworkable, despite having been tried many times. Others who’ve given the “accidental comedian” motif a go with varying success included Mabel Normand (The Extra Girl, 1923), Harold Lloyd (Movie Crazy, 1932), Red Skelton (Merton of the Movies, 1947), and Jerry Lewis (The Patsy, 1964). As a comedy premise the deck is stacked against you. The idea of an unintentionally funny comedian is too overwrought, too convoluted to be completely funny. The moments in the film that work best are the ones that are at a remove from that idea, such as when the Tramp poses as part of an animatronic Noah’s Ark display on the midway in order to evade the cop.
And, given that Chaplin is the clown in question in The Circus, what’s he really about here? Is he frustrated with the fact that the process of creating funny comedy (or any effective art) is not conscious, that it is (as we have pointed out a few times), completely instinctive? It can’t just be summoned at will. And Chaplin is famous for having made entire crews and casts wait around for hours, days and even weeks as he tried to do just that.
Or does Chaplin want to tell us that, like the Tramp, he is actually really a serious person (the kind of person whose voice is more like A Woman of Paris) and that he’s just been sort of railroaded into being a comedian? Another intriguing element in the film is the group of hack professional clowns who work at the circus and whom the audience hates. If the Tramp is Chaplin, who are they supposed to represent? The Keystone comedians? It certainly seems germane to his actual attitude towards them during the early part of 1914. It’s as though he were saying, “It’s not MY fault the world thinks I’m better than those people. Don’t blame me. I was born this way!”
Then there is the metaphor of getting the Tramp left behind by that circus. On the one hand he seems to be saying “I can take or leave this comedy thing.” But, on the other hand, perhaps he is expressing the fear that history will pass him by. The Circus was released a few scant months after The Jazz Singer. Was he beginning to have doubts that he could keep up with passing trends?
The self-doubt extends into the romantic realm in this picture, as well, a continuation of a theme he introduces in The Gold Rush. When Edna Purviance had been his leading lady, sometimes the Little Fellow would get the girl, sometimes he wouldn’t. Most of his films of the late silent era follow the model set by The Tramp and The Vagabond, generating pathos out of how the Tramp could never get the girl. (In The Gold Rush he had to buy the girl.). The Circus continued that theme.
Production on The Circus was apparently jinxed. Set-backs during filming included a scratched negative, a fire which set the production back for weeks, and personal woes for Chaplin including the death of his mother, his divorce from Lita Grey, and hassles with the I.R.S. In light of all that, we may fortunate that this film emerged as a comedy at all!
5:15am: (EST): Chaplin Today: The Circus (2003)
Serbian filmmaker Emir Kusturica shares his impressions of Chaplin’s The Circus in this 26 minute documentary short.
For more on clowns and silent film don’t miss Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube, released by Bear Manor Media.