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Charlie ChaplinDrehbuch:
Charlie ChaplinKamera:
Roland TotherohMusik:
Charlie ChaplinBesetzung:
Charlie Chaplin, Merna Kennedy, Henry Bergman, Albert Austin, Stanley Blystone, Heinie Conklin, Hugh Saxon, George Davis, Tiny Sandford, Jack P. Pierce (mehr)Streaming (1)
Inhalte(1)
Charlie ist auf der Flucht vor der Polizei. Die ist nämlich überzeugt, dass er einen Diebstahl begangen hat. Der unschuldige Mann landet bei seiner Flucht plötzlich in einem Zirkuszelt und unterhält zur Freude der Veranstalter das Publikum – wenn auch eher unfreiwillig. Das kommt so gut an, dass er vom Fleck weg engagiert wird. Und Charlie hat doppelt Glück: Er findet in der Stieftochter des Zirkusdirektors seine große Liebe. Doch dann taucht Rex auf und stielt ihm die Show … (Kabel eins classics)
(mehr)Kritiken (5)
Der Zirkus war meine erste Begegnung mit Charlie Chaplin als Schauspieler und auch als Regisseur. Unabhängig vom Produktionsjahr ist diese Komödie unglaublich witzig und spritzig, so dass ich mehr als einmal laut lachen musste. Ich glaube, die Szenen mit dem Pferd (oder Esel, oder was auch immer es war) und dem Schurken gegen den Löwen haben mich am meisten amüsiert. Kurzum, ein sehr gut gemachter Film, der mich fesseln und unterhalten konnte.
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A poignant grotesque about the fact that making fun is no fun at all. Most of the gags, even from today's perspective, are very funny and brilliantly delivered, but I feel they somewhat overdid it after the excellent opening forty minutes.
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A traditionally excellent and entertaining Chaplin. Although his most elaborate works were yet to come, The Circus is a perfect example of the kind of intermediate stage between the lively shorts and the narratively sophisticated feature films that Charlie would make from 1930s. The story in this case is basic and unemotional, but everything from the original sets to the inclusion and arrangement of the stunts works superbly. 80%
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Chaplin needlessly lingers here with an uninteresting plot and long prologues to the attractions. These aren't particularly breathtaking compared to Buster Keaton's suicide escapades, for example; rather they are unnecessarily drawn out. The bravura of the scene with the destruction of the magician's stage is obscured by the fact that the final stunts on the rope look rather artificial, overdone, and static. Plus I found the character of the Tramp kind of annoying and I tend to wish her life imprisonment for vagrancy even if it’s a matter of life and death. If the crumpling and discarding of the star at the end was indeed an act of anti-communist resistance, it's great to see it in a film whose theme is how the circus owner exploits everything around him, including his daughter, whom he regularly spanks, and the only way to humble him is to smash his face in and marry his daughter off to another guy.
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One can't help but wonder what all was possible, especially concerning the safety attempts for the actors. Insurance companies would probably be tearing their hair out today, or they simply wouldn't insure the actors. Charlie Chaplin is once again excellent in this regard, and his act with the lion really got to me. At times, I quite enjoyed it, like a nice soul caress that slapstick humor can evoke in me.
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