JohnHowardReid The allure of "Under the Big Top" (1938) lies mostly in the fact that it was the last of twelve films directed by D.W. Griffith's cameraman, Karl Brown. Although he was now working for the third-rate production company, Monogram, ex-photographer turned director, Karl Brown, manages to invest the movie with considerable production values. The players, led by Marjorie Main and the lovely Anne Nagel, help too, although perennial heavy Jack La Rue seems somewhat miscast as the noble hero, while Grant Richards makes little impression as the nominal love-interest. I could also wish to have seen a great deal less of George Cleveland. But the fire scenes and the usual circus plot ploys were handled with reasonable assurance. (The Alpha DVD rates at least 8/10).

mark.waltz And sadly, she plays a really unlikable character, a hard-boiled circus owner so cold that when her orphaned niece comes to stay with her, she is too busy telling off her performers that she doesn't even notice the little girl looking up at her. Humorously, the young girl just a minute earlier mistook the fur-clad Main as a bear, but that's where the amusement ends. The young girl grows up to be the lovely Anne Nagel, and Main is so intent on keeping her under her thumb that she disapproves of her romance with another performer, causing them to run off. Then, when Main becomes ill, her circus in danger of being closed, Nagel returns. It's all done very coldly and without any heart. While life under the big top may not be all clowns and balloons, there are better ways to tell the story than through this script written with icicles.

MartinHafer Early in this film, a circus owner (Marjorie Main) is given custody of her sister's young daughter after the sister dies. Soon, the little brat burns down the circus and instead of beating the snot out of the kid, they celebrate because now they can make an insurance claim! I don't think insurance works that way and this seems like a rather dubious message to be passing on the the audience...but, after all, this is a rather dubious sort of film.Years now pass following the fortuitous fire. Now the little brat has grown and is a star on the trapeze. I agree with another reviewer who hard a hard time accepting that she is, according to Main, "the world's greatest aerialist"! She was a lot better than me or my dog, but seemed far from the greatest. But, the actors in this film try their best to pull off the idea that she is terrific--as evidenced by the men who are smitten by her. What happens next is rather unexciting--as can be said of just about every circus film of the era. Dull writing, acting and action spell the recipe for a very sluggish film.And, speaking of dull circus films, this genre has apparently died--thank goodness. Despite winning a totally undeserved Oscar, "The Greatest Show On Earth" was an amazingly dull film whose only advantage over "Under the Big Top" was a glossier look and bigger budget. "Circus World" was likewise very big and glossy--but even duller. About the only circus films that WERE worth seeing were films like "Circus of Fear" and "Berserk" because at least they were meant to be trashy horror films--not trashy and horrible films like the rest! By the way, this is yet another film with a supporting role for a black actor known as 'Snowflake'--a rather demeaning stage name for a man--more like a name you might expect for a trained animal. It's a sad sign of the times in which it was made. Other such ill-named black actors of the era included Farina, Buckwheat, Sleep 'n' Eat, and, of course, Steppin Fetchit. My how times have changed!

Spuzzlightyear 'Under The Big Top' falls under the very, very small subgenre of movies that are not only about circuses, but about acrobats! Let's see, there's Trapeze, The Greatest Show On Earth, and now this movie! This is all about a girl named Penny, who literally grows up in the circus and becomes the BEST Trapeze artist in the WORLD! Actually, when we see the act, it's nothing special, but if the movie says they are, then they must be! Anyways, she is brought up by her aunt, a stage mother if there ever was one, who dictates everything about Penny's life. When she finds out Penny's fooling around with one of the other two male trapeze artists in the act, she is not at all happy, and hey, guess what? Neither is the other male trapeze artist, who had the hots for Penny herself! So there is some great sexual tension going on there, which is fun in a wild environment such as this. Unfortunately, the movie doesn't explore that any further, instead going towards the clichéd 'Will Penny make it in time to rescue her sick Aunt?' routine. But not before finding out the spurned trapeze artist developed an alcohol problem! So so much you could have done with this wild story, but it literally, and I'm sorry for this awful pun, falls on it's face.