There was a time not that long ago that when Tod Browning was remembered, it was for either directing the Bela Lugosi DRACULA (1931) – (to which all the credit was given to Lugosi) or as the man responsible for FREAKS (1932) a horror film that featured real deformed carnival performers and was a notorious failure (it virtually ended his career even though he lived another 30 years) until it was championed by photographer Diane Arbus in the early 1960s. Then, as more of his silent films were uncovered, he was remembered as the director of several bizarre Lon Chaney melodramas for which Chaney received the credit. While I am in no way downgrading Lugosi and Chaney’s contributions, THE SHOW (1927) proves that there was a lot more to Browning than he is usually given credit for.
Before getting into movies as an occasional performer and assistant director to D.W. Griffith, Tod Browning had worked in several circuses as a carnival barker and side show attraction. He loved this tawdry low budget world and frequently recalled it in several of his movies. While THE UNKNOWN (also 1927) with Lon Chaney and a young Joan Crawford is much better known, THE SHOW proves that it was Browning who transformed the performers rather than the other way around. John Gilbert was MGM’s biggest star at the time. He specialized in romantic leads and yet here is transformed into the highly unglamorous yet still seductive Cock Robin (how’s that for a name) who does a number of very unromantic things. He is again paired with French actress Rene Adoree (his co-star in the hugely successful THE BIG PARADE) and a younger Lionel Barrymore who strangely resembles Jared Harris here. None of the principal characters are really likeable but they engage you.
THE SHOW showcases Browning at his stylistic peak. Shadows prevail, the characters’ body language is extraordinary, and the faces (especially Barrymore’s) are devilish and malevolent. The camerawork is remarkable and the film is edited for maximum impact. Fortunately, after being lost for many years, the TCM print is in very good shape and the new background score is suitably appropriate. The simple story is straightforward enough. Street criminal Barrymore loves carnival performer Adoree who loves fellow performer Gilbert who loves only money. Of special interest is seeing how the carnival illusions are carried out as the story of Salome is re-enacted (take a close look at the cover) on a side show stage. It isn’t his best, but THE SHOW has proven to be my favorite Tod Browning silent movie.
The Capsule Critic 