THE GREATEST SHOWMAN
US, 2017, 105 minutes, Colour.
Hugh Jackman, Zac Efron, Michelle Williams, Rebecca Ferguson, Zendaya, Keala Settle, Paul Sparks.
Directed by Michael Gracey.
Come to the circus, the greatest show on earth.
It didn’t actually begin in that way. First of all there was a Museum with all kinds of odd exhibits – not a success. Then there was what was called a freak show, all kinds of characters, bearded lady, Siamese twins… And a ringmaster. Finally, there was the circus, again with the freaks but with all the animals, the big top, the eager and applauding audiences.
But, even before that, there was Phineas Taylor ‘P. T.’ Barnum, who saw himself as the inventor of “show business�.
Phineas didn’t have an easy childhood. He worked with his father, a builder, somewhat impoverished, humiliated by aristocrats, even being slapped in the face by the father of the young girl, Charity, whom he frequently met with and loved. He tried the railroad to make some money. He worked as an accountant until the firm went bankrupt. What to do? With a wife, Charity, and two daughters?
If we really want to know, it is probably best to Google Wikipedia and read all about him. While there is a foundation in this screenplay, there is a lot more to Barnum’s life, especially after his involvement in sideshows and circuses, even a political life. But, this is a musical, this is a comedy, this is a feelgood zest for life kind of film and not the place where one would go to find history and biography (which, apparently, some unhappy critics say they did expect to find in the film).
Lots of songs, lots of dances – and the songs composed by the creators of the music for La La Land. And who better to be Barnum than Hugh Jackman? Hugh Jackman would really have been at home in the MGM musicals of the 1950s, always cheerful, strong voice, good dancer, good actor, someone you can’t help but like. And this time he is aided by Zac Efron, a decade on from High School Musicals, keeping pace with some singing and dancing but providing a serious part of the story, a New York playwright from a wealthy family who decides to run away to the circus, falls in love with the trapeze artist, tries to save her from the burning Museum, has enough nous to have invested his percentage so that the circus can rise again.
Michelle Williams is Charity and joins in the singing and dancing. Keala Settle makes a big impact, as a big lady, a bearded lady. One of the New York journalists upgrades Barnum for exploiting the “freaks�. But they are on Barnum’s side, relating how people hid them, looked down on them because of their characteristics, idiosyncrasies, deformities, but that Barnum brought them out from the shadows, gave them a life, a zest – and at the end, they tell him not to indulge in self-pity when the museum burns down but to get up and live.
There is a subplot where Barnum goes to England and has an audience with Queen Victoria – who is amused. In London he meets the Swedish singer, Jenny Lind (Rebecca Ferguson), and organises a tour of the United States for her, which leads to touches of scandal in the newspapers and some financial disaster, despite her success as a singer and the adulation of the audiences.
Those who might like a comparison with Hugh Jackman, can search out a 1986 television biography film of Barnum with Burt Lancaster in the title role.
In the meantime, this is for rollicking on.
1. An entertainment? The musical? Show business? The circus and performers?
2. P. T. Barnum, his history, as a person, his abilities, his ordinary life, as an entrepreneur, the Museum, the circus, the range of the entourage and the freaks? Researching his later life and politics?
3. The film Is a 21st-century musical, the songs, the dances, characters and situations?
4. The director, his work in advertising, musical videos? The strong cast?
5. Barnum as a boy, the 19th century, poor, working with his father, the aristocrats, his face being slapped? His attraction to Charity, their meetings, singing, hopes? Going to the railroad to make his fortune? Returning? Work in the office, his idea, the firm and its bankruptcy, his losing his job? His promises to Charity and the girls?
6. His idea, the story of Tom Thumb? Encountering the young man, the discussions, offering him the job? His eager response, possibilities of adventure? Recruiting the others, the bearded lady and her life, the dog man, the Siamese twins, the heavy man, the trapeze artists? The exhibition, the exaggerations and tricks? The critique by the journalist of his exploiting the freaks? How accurate the criticism?
7. Barnum as a 19th century American, enterprise, money, touches of fraud? The assistance of O’ Malley? Selling few tickets? The hostility of the crowds?
8. His daughters, wanting live action in the original museum? The collection of the freaks, displaying them, the success? His buying a house, his daughter going to ballet (and initially mocked)? Moving to her performance and success?
9. Charity, love for her, leaving her family, leaving her father? Her devotion to her husband? The children? Standing by him in the difficulties? In setting up the museum? In employing the freaks? The later encounter with her father and his dismissing of Barnum?
10. The display, the songs and dances, everybody being equal, from being looked down on to having a place? The glimpses of the eager singing and clapping audiences?
11. Barnum’s philosophy of entertaining and making people happy? The visit to England, the audience with Queen Victoria, her being amused? Meeting Jenny Lind, reputation, Barnum’s idea for her tour, her being persuaded, her lowly origins? Going to America, the concerts, Barnum’s notices, his moving into society, with charities parents, his investment, her flirting, the final kiss and her leaving?
12. Bankruptcy, the scandal of the relationship with Jenny Lind? Being ousted from the home? And the museum burning down?
13. Philip Carlyle, writing plays, wealthy family, encounter with Barnum, drinking, the conversation at the bar, his being persuaded, the percentage, his keeping accounts, falling in love with Anna, his father spurning him and Anna leaving the theatre? His being upset?
14. The fire, going to rescue Anna, Barnum rescuing him? The scenes in hospital?
15. The group condemning Barnum for self-pity? The desire to build again, the spirit, the idea of a tent rather than the building, the circus, the animals? His riding the elephant into town? The discussion with Bennett and Bennett modifying his views (after praising the tour of Jenny Lind)?
16. The atmosphere of the greatest show on earth?
