Metacritic reviews

It has comedy, drama, thrills, melodrama, tragedy and great heart. [11 Jan 1952, p.54]

Sprawling across a mammoth canvas, crammed with the real-life acts and thrills, as well as the vast backstage minutiae, that make the circus the glamorous thing it is and glittering in marvelous Technicolor--truly marvelous color, we repeat--this huge motion picture of the big-top is the dandiest ever put upon the screen.

With the aplomb of a modern Mesmer, DeMille forges The Greatest Show on Earth into a fabulous entertainment experience — a big, seething SHOW, spectacular, exciting, colorful.

It's big, it's garish, it's loud, and most of all, it's wonderful. This is Cecil B. DeMille's superlative salute to the circus world, and all its glamour and flashy hoopla suits perfectly the director whose middle name was epic.

Prototypical DeMille extravaganza about a circus tour beset with colorful crises, romance, train wrecks and spectacular melodrama from beginning to end. [21 Aug 1998, p.H]

As has come to be expected from DeMille, the story line is not what could be termed subtle. While it may draw some critical catcalls, it does effectively serve the purpose of a framework for all the atmosphere and excitement of the circus on both sides of the big canvas. In any case, what bleacher fan wants to get mixed up with a plot he’s going to have to wrestle with?

There's not much juice to the movie's central romantic triangle between money-minded boss Charlton Heston and his two star attractions, dueling trapeze artists Betty Hutton and Cornel Wilde. Still, Jimmy Stewart does some appealingly subtle work as a clown on the run from the law, and DeMille's narration has a charming, corny, true-life-adventure quality, as he hypes the circus as a life-and-death proposition.

A long, marvellously vulgar tribute to the circus world, the penultimate movie by the septuagenarian veteran, that brought him a sentimental 'best picture' Oscar after 40 years in the business. [05 Feb 2006, p.2]

Cecil B. De Mille in anachronistic decline, though a few critics insist it’s his most personal film.

A huge, mawkish, trite circus movie directed by Cecil B. De Mille in a neo-Biblical style.