Trapeze (1956)

After playing with our expectations, this turns out to be a very different sort of film.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

The movie really just wants to entertain people.

Burt Lancaster is the most impressing character here, although both Tony Curtis and Gina Lollobrigida are almost equal to him and many of the other actors as well. The circus world is admirably caught on screen with all its chaotic ingredients of loose ends and relationships, cynical direction bordering on cruelty, elephants and horses, lions breaking loose and of course no limits to intrigue, as there are constant threats of artists quitting. But this is actually a film about the problems of relationships in matters of artistic perfection - they just can't mix. Burt and Tony find each other, but then there is Gina, and Burt, with his greater experience, immediately sees Gina as a mortal threat to the artistry, and so she is, no matter how clever and endearing she appears as she enforces her ambitions at the cost of others. The end is arguable - what actually happens? Will they be able to continue, or will they not? The end is typically abstruse and ambiguous for Carol Reed - he ended a number of his films in the same way with a remaining unanswerable question mark.Above all, the film is a feast to the eyes, after his first colour film "A Kid for Two Farthings" the year before he has considerably developed his artistry for utilizing colours and cinemascope to the full - the film is from beginning to end sparkling with colourful life and actually fathoms the whole circus life completely in all human, animal and artistic aspects. There are some scenes that hit the roof in excellence and unsurpassable top ratings, all the trapeze scenes above all, but also minor scenes, like when Burt and Tony walk on their hands on the street together out of the scene. It's probably the best circus film ever made.

Carol Reed was one of Britain's most interesting directors, and perhaps most intriguing about his work is his unique brand of stylised realism, the two conflicting moods astutely and unforgettably blended: the handsome, dream-like snow-storm in 'Odd Man Out (1947)'; the woozy war-torn streets of Vienna in 'The Third Man (1949)'; the blending of fantasy against a working-class London background in 'A Kid for Two Farthings (1955).' With 'Trapeze (1956),' Reed deliberately contrasts his use of fantasy and realism. The circus had long held an element of prestige, having spawned a tidy sub-genre of its own, encompassing everything from Lind's 'The Flying Circus (1912)' to DeMille's 'The Greatest Show on Earth (1952).' For decades, the circus has entertained the masses with daring acts of strength and bravery, dangerous animals and extraordinary human performers. But behind this glamour is a less enchanting side of the circus – endless practice sessions, money-hungry managers, and scheming performers who'd place their own interests before those whose lives are being placed in their hands nightly. 'Trapeze' deals with the collision of these two conflicting worlds.Mike Ribble (Burt Lancaster) was once a great "flyer" of the trapeze, one of the few men who could execute a triple somersault. However, a tragic accident left him with a permanent limp, and Mike has since lost all interest in the sport he once dominated. That, at least, is until Tino Orsino (Tony Curtis) arrives in Paris, a keen acrobat who seeks Mike's expert instruction. That Ribble eventually agrees to the partnership is, of course, a given, and their ultimate accomplishments are never in any doubt, but the interplay between Lancaster and Curtis is authentic and entertaining. Reed depicts the indomitable circus prestige through audience applause and the cheerful melody of the "Blue Danube" waltz. When the antagonism being played out behind-the-scenes inexorably spills out into the performing arena, both the applause and the music comes to a standstill. Thus, interjecting into this fantasy world comes the realisation that the circus performers are only human. The reality suddenly becomes clear: one mistake will spell almost certain death.Though Mike and Tino make a formidable team, a romantic complication arises in Lola (Gina Lollobrigida), an ambitious acrobat who'd betray her friends and promise love to anybody whom she thought could aid her career. Lola's exploits are contemptible throughout the film, garnering little sympathy from the audience; one might even suggest that the beating she receives at the hands of her former partners is almost justified by her actions. In any case, the film's conclusion is far too kind to her. Lola chases Mike down a quiet Paris street, perhaps a complementary allusion to Holly Martin's shameful snubbing in the final moments of 'The Third Man (1949).' Maintaining the optimism that Reed displayed previously in 'A Kid for Two Farthings,' this ending offers redemption rather than disgrace to Lola, who is seen to have betrayed her companions, much as Martins betrayed Harry Lime and Anna Schmidt. Most impressive of all is Robert Krasker's creative photography, frequently offering the audience a breathtaking "birds-eye" view of the trapeze routines, like leaning over a precipice into open space.

From the notorious "Third Man" director Carol Reed comes a noirish circus film set in the heights. A beautifully composed movie about ambitions, deceit, cruelty, love and perfection is what's brought to us here.Burt Lancaster plays Mike Ribble, once the greatest Trapeze artist in the world is now a circus rigger after a accident that destroyed his leg, but now hope is brought to him. Tino Orsini (Tony Curtis) comes to him to learn the now vanished triple somersault. Mike soon understands that Tino is the only one who can bring this back to the world and they form an act together. Obviously it can't end there. The overly ambitious Lola (Gina Lollobrigida) sets out to make it big trying everything she can to get in their acts and when she makes it her ambitions only grows.With unusual angles, rough style and a rather fresh story Reed creates gold her. The film brings along a lot of the noirish feel though it can't be put it that genre. The film is cold and warm altogether something which at least I always appreciates.The plot turns are great and the characters aren't exactly your average blowup dolls. Great performances all around. And I must applaud for Lancasters understated yet incredibly moving performance. A fabulous film without a single dull moment! My rating is 10/10, it will get on my top 250 and it's the best film I have seen from 1956 this far (though Death is the Garden is very close)

Trapeze is an excellent film. Direction of Carol Reed is superb. I remember as a kid watching the flick on the million dollar movie on WOR-TV and being totally engrossed in the story of a fabulous love triangle between Burt Lancaster, Gina Lollobrigida and Tony Curtis. The film incredibly depicts the dangers of circus acts and what a passionate artist will endure. This little treasure of a film inspires filmmakers and actors today to perfect their craft in the entertainment industry. I learned early that Lancaster was an acrobat which enabled him to create the difficult trapeze act skillfully. But I did not know he was one of the producers until I had the pleasure of interviewing Ms. Gina Lollobrigida at a cover launch of Black Tie International Magazine. Gina candidly told me of her experience on the film and how determined Burt Lancaster wanted the acting scenes perfected while Tony Curtis had a more cavalier attitude and was more interested in the Paris nightlife. Tony would often try to encourage her to have a good time with him off the set. A definite must see for anyone who wants to enjoy a well produced film Author: Cognac Wellerlane