Trapeze

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.

What can we say about the big guy? He did his own stunts and this little film with Tony "Yonder's m'fadda's castle" Curtis [né Schwartz] and the lovely Ms. Lollobrigida, along with vet character actor Tom Gomez, delivers. Lots of fun. Lots of stunts. A reminder of a long gone era when movies had something to say. I remember seeing this one in San Francisco when it first aired. My date that evening was beautiful El Salvadorian who looked (nearly) as gorgeous as Gina. But, the film was so good, I stayed on my best behavior, much to her (and my) surprise. Ah, those were the days and this was a fun film to watch. The scene where Curtis and Lancaster walk home on their hands alone was worth the price of admission-- for both of us.

Actually I think Trapeze is a fairly decent depiction of a 1950s European flyer's act. And I understand that Mr. Lancaster was an acrobat whose career was ended due to injury prior to his becoming an actor. So this may have enabled him to have a good feel for his role.

But I'm also a bit biased. I've been to a couple of circuses in Paris, which seemed to mirror the film's atmosphere and I actually met the actors who starred in this film.

In 1955 I was living on an American military base near Paris where Trapeze was being filmed. The USO hosted a gathering on base and Tony Curtis and Gina Lollabrigida appeared to promote the film and sign autographs. My older sisters got their photos taken with Mr. Curtis.

So naturally, whenever I catch this film on late night cable, I see it from a nostalgic point of view.

Burt Lancaster, Tony Curtis and Gina Lollabrigida star in "Trapeze," a 1956 film directed by Carol Reed and also starring Katy Jurado, Thomas Gomez and Johnny Puleo. Lancaster plays a former trapeze artist turned rigger, Mike Ribble, working in a Paris circus. A once great artist, he is grounded due to a permanent injury while doing his famous triple. He is approached by Tino Orsini (Tony Curtis), a talented aerialist who wants to learn the triple. Ribble sees the man's talent immediately, takes him on, and agrees to be his "grabber," the man who catches him mid-air. Problem arise when the beautiful, seductive user Lola (Gina Lollabrigida) who plays both men in order to be part of the act.

Director Reed gives the viewer the vivid experience of working in the circus and the resulting pressure cooker of relationships. The trapeze work is glorious, and there is plenty of it.

Lancaster has the major role, and he gives an excellent performance as a man with no illusions who, through Tino, dares to dream again. His muscular build is shown to great advantage as well. Curtis is excellent as the young, ambitious Tino who falls hard for Lola. Lollabrigida is gorgeous and sexy as the alluring Lola - she does a good job, but really, all she has to do is stand there and she IS the role. The supporting cast is solid, including Katy Jurado as an ex-girlfriend of Mike's and Thomas Gomez as the owner of the circus.

I don't have any figures, but I suspect this film was a big hit. It led to another Lancaster-Curtis collaboration, Sweet Smell of Success, so for that reason alone, it would be worth it. However, Trapeze flies on its own merits.

Curtis was young...Lancaster was in his prime.....The trapeze performances were stunning and despite the predictability of the story, Trapeze was a wonderful movie. Though a little "hokey" at times, and dated perhaps today, the warmth, sincerity, and circus-realism makes this a mild classic!