Archive for Man on a Tightrope

High Wire Actors

Posted in FILM, MUSIC, Politics, Theatre with tags , , , , , , , , , , , , , , , on January 19, 2019 by dcairns

How nice! Out of the blue, regular Shadowplayer Chris Schneider offers me a piece on Elia Kazan’s oft-dismissed cold war/iron curtain circus drama, MAN ON A TIGHTROPE. And I am delighted to receive it, and pass it on to you ~

What a joy to find out that the Kazan-directed MAN ON A TIGHTROPE is every bit as good as one hoped it would be.

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I had vague memories of seeing MAN ON A TIGHTROPE as a child. A decade or two later, I chanced while channel-surfing on Terry Moore and Cameron Mitchell being swept by a river with “The Moldau” on the soundtrack. This time ’round I watched because of the names Elia Kazan and Gloria Grahame, the latter visible as a circus-director’s sluttish second wife. And I’ll stand by my verdict offered midway through: heavy-handed, yes, but drippin’ with atmosphere and good performances.


Franz Waxman’s score for this story of a Czech circus is heavy on the “Moldau.” Also on the Harry Warren tune “Chattanooga Choo-Choo,” which must have made the Fox studio people happy. The clowns dance to it, you see.

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MAN ON A TIGHTROPE stands midway, in Kazan’s credits, between VIVA ZAPATA! and ON THE WATERFRONT. We get Kazan as director, Robert E. Sherwood of THE PETRIFIED FOREST as scenarist, and Gerd Oswald of A KISS BEFORE DYING and CRIME OF PASSION as one of the producers. Also, crucially, there’s out-of-studio shooting on Bavarian location, which makes for a look that’s black&white, bleak, and full of mittel-europaische detail.


Gloria Grahame is always worth seeing. I’ve yet to watch MANSION OF THE DOOMED, but I probably will. Hell, I’m even happy with her talking at the tv contestants in MELVIN AND HOWARD.

Here Grahame’s fine, at the end, tossing aside a life-sized doll, one of the clown props, with the implication that she’s tossing aside her assigned role as pretty useless wife. There’s a good MARNIE-esque bit with husband March veering and the camera getting closer and closer.

Not exactly defensible, this last bit of behavior, but effective as pathology.


I should probably expand on that “heavy-handed.”

This is very much a Cold War film. Fredric March, as protagonist, plays the weary cuckolded director of a shabby circus who leads his people in an escape from behind the Iron Curtain. (That’s a phrase my Spellcheck keeps changing to “Zircon Curtain.”)

March “regains his manhood,” if you wanna call it that, and the respect of wife Grahame in this escape, leading the circus from a place where authorities demand that he adjust — and ruin — the ideological implications of a clown act to a place where U.S. border guards laugh at the clowns freely. In other words: it’s a case of “East Europeans, glum; U.S. representatives, uproarious.”

There’s also the presence of Adolphe Menjou as a party lackey who smirks and threatens March. Similar in function to the Ward Bond role in JOHNNY GUITAR, I thought; both instances of off-screen rep adding to on-screen menace.

Which leads to that river and “The Moldau” sweeping along March’s daughter Moore and her Americanski boyfriend Mitchell. A bit reminiscent, this, of that old James Agee joke about tendentious WW2 melodramas and how “You cannot keel da spirit off a free pipples!” Or words to that effect.


People complain about the atmosphere of guilt and humiliation on display in MAN ON A TIGHTROPE. But isn’t that the bread-and-butter of circus pictures, from HE WHO GETS SLAPPED up through SAWDUST AND TINSEL and onwards?

“Women are not angels,” Grahame half-sings at one point. Neither are the people who made MAN ON A TIGHTROPE. And that includes directors who name names.


I admire the atmosphere of MAN ON A TIGHTROPE.

I admire the performances — even by a post-LITTLE SHEBA Moore playing what one lyricist once called “a nice girl who’s really not too nice.”

I admire the film’s passing bits of schmerzlich-suss … such as, f’rinstance, Alex D’Arcy’s lion-tamer remarking that his curse has been his good looks.

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The film itself is schmerzlich-suss. Indeed.

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The Babby

Posted in FILM, literature with tags , , , , , , on March 14, 2014 by dcairns

There is not necessarily any educational value here, but I felt like sharing it. It will probably give you immense pleasure.

THE KIDNAPPERS (1953) is set in Nova Scotia but the two little kids are Scottish. Jon Whiteley went on to do MOONFLEET with Fritz Lang, while Vincent Winter is in GREYFRIARS BOBBY and went on to become a production manager and assistant director, working on such films as THE STUD, SUPERMAN and THE DARK CRYSTAL. The babby is Anthony Michael Heathcoat, in drag. The babby didn’t win a special Oscar, despite giving a trans performance equal to Jared Leto’s, but the other two did.

Screenwriter Neil Paterson also wrote MAN ON A TIGHTROPE, a little-thought-of Kazan picture from his anti-communist phase, and adapted ROOM AT THE TOP. These credits were enough to make him a big wheel in the nascent “Scottish film industry” so he would always be asked to sit on committees, which invariably descended into shouting matches due to his ferocious temper and stubbornness.

And that’s all I have to say. The clip’s charm needs no explication.