Mary Rainey doesn’t have much to be Smiley about, her life a sideshow carnival that rains more than it shines. Frank Capra’s riotous send-up of circus life is practically a Joe Cook monologue of absurd and baffling tall-tales and one-liners, dangerous stunts and physically profound performances, all dressed up as a trite melodrama. It’s a wonderful film.
Mary inherits a rag-tag traveling circus from her father. Smiley is the manager (and performer) who has promised to look after her after his boss’ death; but he also crushes on her. Mary obviously cares for Smiley and considers his a confidante but she’s truly in love with Bud Conway, a nice rich kid who decided to run away with the circus. This triptych is wonderful as Capra uses it to create a modicum of melodrama but each character is adorable in their own way: it’s not jealous arguments and fisticuffs but disappointing yet optimistic acceptance of defeat. Smiley isn’t a violent freak and Bud isn’t a spoiled rich boy, as Capra breaks with stereotype to elevate this film into so much more: Hope in the face of despair.
The plot treads water with the lover’s triangle and the very survival of the circus because mounting debt will soon dismount the performers. But this is window-dressing for Joe Cook to shine, as the uses these plot devices to create vignettes for insane verbal gymnastics and physical comedy routines. In one, Smiley convinces the local feed-store owner Amos Shrewsberry who is owed $240 by the circus to actually pay the bill himself...and give Smiley another $60! Shrewsberry becomes a comic foil playing straight against Smiley’s hype for the rest of the film. Yet his jibes and word games are never cruel and not meant to belittle his adversary, he just twists Shrewsberry’s reasoning skills into Gordian Knots! Smiley also has a partner in crime, an Alfred E. Neuman lookalike (inspiration?) aptly named Dave whose gap-toothed grin and slapstick antics compliment his cohort. In one scene, as the group attends a dinner party hosted by Bud’s wealthy parents, this menagerie of misfits put on a Hell of routine that dazzles the viewer yet alienates Mary: she is so embarrassed by the display of tactless talent before Bud’s family and peers that she is left a shambles. This scene balances her distress with Smiley’s complete joy in performing, an insight that shows the division inherent in Mary: who she is and who she wants to be for Bud.
The photography by DP Joe Walker is exceptional! He lenses many of Capra’s films and his style compliments Capra’s direction perfectly. Walker moves his camera practically like a Steadicam (not invented until the mid-70’s) to follow characters. To make this even more difficult, this film is shot almost entirely outdoors and on location, where steady lighting and capturing sound would be most problematic. Capra also uses hundreds of people as extras (and an Elephant) so there are often many moving parts in each scene yet they’re choreographed perfectly without feeling staged or blocked. The technical side of this film is brilliant as it truly captures life in 1930 that’s doesn’t seem created in a Hollywood studio or backlot.
The final act once again ends in a conflagration (see Capra’s THE MIRACLE WORKER) and Smiley, fired by Mary over a misunderstanding, returns with Bud to save her from the burning Big Top. In another incredible feat of strength and dexterity (which Joe Cook displays more than a few times throughout) Smiley has to climb up the 73 ft. main rope to carry her down from certain death. Though it’s obvious a “dummy” is used to replace Mary as he descends, there is no trick photography in his hand over hand ascent.
Capra ends the film with Smiley and Shrewsberry engaged in more insane dialogue as they sit dejectedly amid the ashes of the circus tents. Mary is rushed away to the hospital by Bud and Capra doesn’t even give us closure: is Mary going to live? Will the circus recover? Does Bud or Smiley finally earn her unconditional love? Nope. Unresolved. But this dark night of the soul still makes one smile as the outré plays Singin’ in the Rain.
Final Grade: (B+)
