O2D First of all, the movie I saw was named Hell In A Circus. I don't know why this movie has two names but I do know that neither one makes much sense. The story is definitely not about a woman so I don't see how they thought The Constant Woman was a good title and there's no mention of a circus until the last ten minutes but Hell In A Circus is still a more fitting title. They spend way too much time showing actors on stage and people walking through hallways and almost no time on a plot. We see two different plays end(neither get applause from the audience), a fifteen minute speakeasy scene that was completely pointless, extended periods of silence and lots of plot holes.There is literally no story here. I was impressed that the people spoke like it was made today. I've seen movies ten and twenty years newer than this where the dialog was ridiculously dated. Plus the acting wasn't bad. Three stars.

kidboots Leila Hyams was a perfect leading lady whose unaggressive personality made her fit in with any of the MGM leading men of the time (Robert Montgomery, William Haines etc) but with "Freaks"(1932) she mustered up more personality than usual as the feisty circus girl thrown over by her "strong man" live in lover and happy to be romanced by Wallace Ford. Circus movies seemed to bring out the best in her and in this oddly named "Hell in a Circus" (my Alpha copy) she is the lady known as Lou, the "constant woman" (the movie's other, more predictable title) who is the glue that holds the circus together.Expanded from a Eugene O'Neill 1913 one act play "Recklessness", originally confined to the library but now set in a travelling circus. A more rugged looking Conrad Nagel plays Walt Underwood, stage manager for the troupe of players of which his wife is the star and idolized by her son Jimmie (Tommy Conlon who turns in a sensitive performance). Of course Marlene (Claire Windsor) is not worthy of them and even though Walt has bought the company to keep their marriage together, she thinks nothing of leaving them flat when the big time (and her lover) beckon. Paying her a surprise visit Walt and Jimmie are too late - she has died in a fire in sordid circumstances and although Walt paints her as a good woman to Jimmie he has done the job too well as Jimmie grows to hate Lou, who he thinks is trying to take his mother's place.The truth is Walt has found some incriminating letters which raises questions about whether Jimmie is really his son (although he never tells Jimmie) and it sets him on a downward alcoholic spiral. After searching for him high and low Lou and the circus workers find him in a sleazy speakeasy run by a bullying Fred Kohler and have to wreck the joint to get him out of the manager's clutches. Lou sits up with him all night (to sober him up), Jimmy accidentally sees her and that's how the misunderstanding begins. She gets him back on his feet with a weekly broadcast but their news to Jimmie of their forthcoming marriage has Jimmie running off to join the circus......The other reviewers are right, there is more plot in this movie than a Victorian gaslight melodrama but all the actors bring their A game. Fred Kohlar chews up all the scenery in sight and Stanley Fields proves he can also play a "lovable lug", Claire Windsor also does well with her short but vicious role of Marlene and it is directed with flair by Victor Schertzinger who penned some memorable tunes ("The Love Parade" etc) for Paramount in the early musical days. Oh and Mickey Daniels from the original "Our Gang" plays a soda jerk.In 1929 Conrad Nagel was the name on every studio head's lips as in "Get Conrad Nagel" - all due to his beautiful speaking voice and handsome blonde looks. He was even the M.O.C. for M.G.M's all star revue "Hollywood Revue of 1929" but a falling out with Louis B. Mayer saw his star plummet although it was nice to know he still had what it took in a little poverty rower of 1933.

MartinHafer Rarely have I seen a B-movie with so much plot. In fact, it has enough for two films or perhaps even an epic! It's a case of just too much and should have been trimmed, as a film completed in under 70 minutes with so much stuff happening is a bit confusing and ill-focused."The Constant Woman" (also known as "Hell in a Circus"--even though only the last five minutes or so takes place at a circus!) begins with a minor company of actors performing. As the leading lady is doing her act, you see her son in the wings--oh so proud of her. Moments later, he's having a fist-fight with another teen...but this isn't what the film is all about however. Then, the lady announces to her husband and son after the show that she's accepting the lead in another show--in New York. After leaving them, the two decide to follow a few days later to surprise her. When they arrive at her hotel, the father finds out two nasty things: she was burned up in an accidental fire with her lover AND the boy is not really his son!!! Wow. But, this still isn't the main plot of the film.For a while, the father spends all his time getting drunk and his life is a mess. So, it's up to a lady who cares about him and a friend named (I kid you not) 'Beef' to bring the gang to the speakeasy to get him--and a huge fight occurs with the owners of a speakeasy. But, this really isn't what the film is about however.Next, you see the father being sobered up by his lady friend. And, soon they've both gotten a great job paying wonderful money doing a radio show and all appears to be happy. And, at that moment, the dopey dad realizes how wonderful the lady is an asks her to marry him. But, this isn't quite the main story idea either.The teen learns about this upcoming marriage and he freaks out--running off to live with Beef at the circus. However, his dad and possible new mom are beside themselves looking for this runaway little punk and on a hunch, they rush to the circus. There, the place has just caught fire--wild animals are running amok and are about to eat the boy who is pinned under some stuff....in a burning tent!!! But who should come and save him?! Yep--new mom. Now the boy awakens in the hospital realizing what a jerk-face he's been and announces that the marriage is a swell idea and they all live happily ever again. So, now that I think about it, what is the actual purpose or plot of this thing?! The bottom line is that the writer threw in everything but the kitchen sink. As a result, the film came off as cheesy and contrived. To recap--a mother abandons her family only to become a crispy critter with her lover, the husband finds out about it AND that his son isn't really his, becomes an alcoholic, is being held prisoner in a speak-easy, is rescued by 'Beef', is sobered up, gets a good job, negotiates a great contract for lots 'o money, realizes he's in love, asks the girl to marry him, son returns from boarding school and freaks out when told this, runs off and joins the circus that now happens to catch fire AND the lions and tigers escape AND new mom-to-be rescues the kid and the kid now realizes she's a swell dame.....Good Lord, there is a LOT in this film!!! In addition, the acting, at times, is a bit suspect and the film is a silly and inconsequential little B-movie and nothing more.

marcslope In a trim and workmanlike 70 minutes, we get barnstorming theatricals, an unfaithful wife, a bastard child, a hotel fire, a circus fire, a speakeasy brawl, and crackling pre-Code dialogue, including this reminiscence from an ex-roustabout: "Why, when I was with the circus, if you had only one black eye they thought you was a pansy!" Victor Schertzinger achieves some resourceful directorial tricks, not always placing the camera where you expect and injecting some expressionistic touches. The cast is game, with Claire Windsor a particular delight as the rotten, selfish wife who gets bumped off in the second reel.It's a Poverty Row epic -- from Tiffany Studios, to be precise -- but it has what they used to call moxie. And the quick pace and unflinching Depression milieu recall Warners-First National at its best.