The Roar of the Greasepaint, the Smell of the Crowd

At last — a film with Gay Boys.

To see what has brought about this unusual gathering, head over to The Daily Notebook, where this week’s edition of The Forgotten will clear its throat and do its level best to inform you.


11 Responses to “The Roar of the Greasepaint, the Smell of the Crowd”

  1. Quite festive. And rather remindful of —

  2. Cinema Circus is set in front of the now-sadly defunct Pan-Pacific Auditorium — which in its final days inspired THIS.

  3. A massive flop Xandu inspired its director, Robert Greenwald to leave commercial filmmaking altogether. He now makes very effective political shorts. Most recently he’s direted his resources at attacking the evil Koch Brothers.

    Xanadu meanwhile, because such a “Guilty Pleasure” it inspired THIS

    unleashing a very talented Gay Boy named Cheyenne Jackson on an unsuspecting world.

  4. What in the…?!? How have I never seen this oddity? What the heck is that giant horned and winged cartoon beastie? Is it some kind of mythological hybrid or something? My computer is on the fritz, and I can’t watch the clip. Have I been spared some freak show induced nightmare? Don’t feel the need to answer any of these questions.

  5. Greenwald certainly seems to have turned his talents to better use!

    Maybe there’s something in the water near the Pan-Pacific Auditorium — Cinema Circus and Xanadu both seem like the products of unhinged minds.

  6. David Boxwell Says:

    It would be even better if there were shots of a drunken Lee Tracy having a slash off a balcony, splashing right on to the Gay Boys.

  7. David Boxwell Says:

    Roy Rowland: achieving even greater heights of cinesurreality in 1953’s THE 5,000 FINGERS OF DR. T.

    Jack LaRue in early Technicolor! A previously undreamed dream has now come true. And Mr. Pratt looks even more like Jeremy Irons’ doppelganger/father here than I have ever seen him before.

  8. Karloff’s Indian ancestry looks even more visible in Technicolor.

    Yes, looking at Rowland’s other credits, one does want to give him credit for being more in control of this thing than initially appears. If the nightmarish surreality of Dr T is deliberate, and it clearly is, maybe he decided that was the only way to salvage this mess. And it kind of works!

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