El circo volador

A three-reel offering of one of those fly-by-night circuses which here serves as the background for a romantic story, extremely well put on and effective. The players are capable and one especially, a gypsy girl and snake charmer, is all that her role demands. She suggests the right type of woman, one of the passionate kind, who are good villainesses and good losers, too. A woman with whom one can easily sympathize and we are made to feel strongly for her, consoling herself with the smoke of a whacking big cigar. It is a good offering for any place where this Bohemian kind of picture is acceptable. The camera work is of high order. - The Moving Picture World, June 14, 1913

If you've seen one sensational circus film of the Danish silent era, you've seen them all, it would appear. This, "The Flying Circus", is only the second one I've seen, but it's nearly identical to the other, which is "The Great Circus Catastrophe" (Dødsspring til hest fra cirkuskuplen) released the same year. I've also seen the sequel to "The Flying Circus", "The Bear Tamer" (Bjørnetæmmeren), which I suppose would also be considered of the circus genre, but it's not really worth seeing even if you haven't seen a circus film (and apparently not many have; as of posting this comment, it's not even on this website yet). Alfred Lind helped to inaugurate the circus film in 1911 with "The Four Devils" (De fire djævle), which apparently hardly anyone has seen, either.

For the first ten or so minutes of "The Flying Circus", it is rather slow going, with the setting up of the circus in the city and the introduction of the characters, although setting up a story is rather neglected. As with "The Great Circus Catastrophe", of what story there is serves to loosely connect sensational episodes, such as rescuing a damsel in distress from a burning building (included in both movies). The main dilemma in both films is the protagonist's decision between a good and a bad woman, with all the jealousy and danger that ensues. In "The Flying Circus", there's more classism involved. At least, there are few intertitles and it's rather short. As well, it's interesting to see what passed for popular entertainment in the motion-picture industry then.

As this German Count mentioned some time ago, the circus show and all that is around it, was often a setting in the silent cinema, probably because at that time the people could still find at the circus the chance to be astonished, bewildered and surprised. They would see the most incredible and bizarre acts played by people with an amazing capacity to perform the most impossible challenges. And of course let us not forget those small traveling circuses that specialized in showing the strangest creatures of the world: the strong man, the tattooed woman, fortune-tellers, various deformed humans beings or even ( in the past century) that most odd and unique of creatures, : a decent aristocrat. The silent cinema -at the time a kind of indoor circus itself-found the many incredible and curious stories of circus life provided perfect vehicles for expressive melodramas concerning jealousy, vengeance, or depraved unrequited loves,.

The early Danish film" Den Flyvende Cirkus", directed by Herr Alfred Lind, has all those circus characteristics ( it must be noted that this film was produced by the Danish Scandinavian-Russian Trading Company that often had a circus background in their movies ). It tells the story of a high-wire artist who is in love with the mayor's daughter; Thanks to his talents, he saves the life of his beloved in a fire but when he wants to marry her, the mayor firmly rejects such a foolish idea. A poor acrobat as a son-in law? Never! Now if the artist were to be a wealthy man, that would show he's a man of principles, ja wöhl!. But those lovers will have another obstacle to their impossible love: Damen Ula, the circus snake charmer who opposes the relationship because she herself loves passionately the high-wire artist.

Damen Ula is the most remarkable character in this film and one that this German Count loves especially because she is the perfect example of those temperamental and strong women of the early silent movies,: She is a remorseless gypsy and besides her snake she also has a uniformed monkey, treats her assistant badly, smokes compulsively and even has a whip that she uses on every appropriate occasion… ah!... a "Negrish" character years before Damen Pola herself.

And now, if you'll allow me, I must temporarily take my leave because this German Count has a rendezvous with the bearded woman.

Quite a nice little adventure yarn from the early golden days of the Danish cinema, lovingly restored into near-pristine condition and released by the Danish Film Institute (on a DVD with what seems to be be the sequel, The Bear Tamer). It can seem a wee bit slow moving, but it never becomes boring - there's a fire and a great deal of jealousy and some perilous situations and last minute escapes. Pretty good for 1912. There's the additional bonus of the quite pretty Lili Bech, who must take home the Oscar as the most smoking woman on the screen - she has a cigar in her teeth about 98 percent of her screen time!

The circus picture was a very popular genre at that time. There are at least 4 circus movies from about 1910-1915 released by the Danish Film Institute.

When the mayor of a small town refuses to allow him to marry the daughter whose life he has saved, a circus tightrope walker attempts a dangerous stunt to raise the money he believes will make him an acceptable prospect. One of a number of Danish circus movies from the early 1910s, this one fails to really engage despite the rescue of a damsel in distress from a burning building and an escaped snake threatening the tightrope walker in the middle of his act. The sultry Lili Beck dominates as the cigar-chain-smoking, whip-wielding snake charmer who argues with a monkey ringing a bell.