The Greatest Show on Earth (1952) and Circus of Horrors (1960)

by Fiona Underhill

“The circus is a massive machine whose very life depends on discipline, motion and speed
— that meets calamity again and again, but always comes up smiling
— a place where disaster and tragedy stalk the Big Top and ride the circus train
— where Death is constantly watching for one frayed rope, one weak link, or one trace of fear.”

-from the start of Greatest Show on Earth

The notion of ‘running away to join the circus’ has been around for as long as circuses have. Leaving your troubles behind, perhaps assuming a new identity and starting with a fresh life certainly has its appeal. Especially in the 1950s, when the societal pressure to have the perfect job, house, family and consumer goods was high. Two films of this era feature medical doctors who make ‘mistakes’ – driven by either compassion or hubris – and assume new identities in traveling circuses. Doctors have one of the most respected positions in society and obviously one of enormous faith and trust, especially at this time, when it was much more common for doctors to make house calls. The idea of doctors betraying that trust would have been shocking, leading to shame and being ostracized from society. And who are a group of people already living on the fringes, as outcasts? Traveling groups of entertainers – theatrical troupes, circuses or those working for carnivals and fairs.