The Show

Plot

Cock Robin, a charismatic and swaggering ballyhoo man, works at the Palace of Illusions, a Hungarian traveling sideshow that features a controversial reenactment of Salome's dance of the seven veils culminating in the beheading of Jokanaan. The beautiful young woman who portrays Salome is deeply in love with Cock Robin, creating a romantic tension that permeates the carnival atmosphere. The Greek, a sinister and jealous character who also harbors feelings for the Salome performer, becomes increasingly determined to eliminate Cock Robin as his romantic rival. As the sideshow travels from town to town, the love triangle intensifies, leading to dramatic confrontations both on and off the stage. The film culminates in a dramatic climax where The Greek's jealousy drives him to attempt Cock Robin's murder during a performance, resulting in chaos that exposes the dark underbelly of the seemingly glamorous carnival world.

Historical Background

The Show was released during the peak of the silent film era in 1927, just months before 'The Jazz Singer' would revolutionize cinema with sound. This period saw Hollywood studios competing to produce increasingly elaborate and spectacular films to keep audiences coming to theaters. The late 1920s also represented a time of greater artistic freedom in American cinema before the strict enforcement of the Hays Code in 1934. The film's exploration of carnival culture reflected America's fascination with traveling shows and circuses, which were still popular forms of entertainment but were beginning to decline as cinema and radio became dominant. The European setting and sophisticated themes catered to the growing American interest in continental culture during the Jazz Age, while the film's darker psychological elements anticipated the expressionist influences that would become more prominent in early sound cinema.

Making Of

The production of 'The Show' was marked by significant behind-the-scenes drama, particularly surrounding the controversial Salome sequence. Director Tod Browning, known for his fascination with circus and carnival life, insisted on absolute authenticity in the carnival scenes, hiring real sideshow performers and consulting with actual carnival barkers to perfect John Gilbert's character. The relationship between Gilbert and Adorée, who were having a real-life affair during filming, created tension on set but also contributed to the film's emotional intensity. MGM executives were initially nervous about the film's dark themes and potentially offensive content, but Browning's recent success with 'The Unholy Three' (1925) gave him the creative freedom to pursue his vision. The beheading scene required multiple takes and innovative special effects techniques that were groundbreaking for the time. Lionel Barrymore, who was transitioning from leading man to character actor, spent weeks studying Hungarian accents and mannerisms to prepare for his role as The Greek.

Visual Style

The cinematography by William H. Daniels showcases the sophisticated visual style that characterized late silent cinema. Daniels employed dramatic lighting techniques to create the contrast between the glittering surface of carnival life and its darker underbelly. The camera work during the Salome dance sequence uses innovative angles and movement to enhance the sequence's erotic and dramatic impact. The carnival scenes feature deep focus photography that captures the complexity of the sideshow environment, with multiple actions occurring simultaneously within the frame. Daniels also experimented with subjective camera techniques during moments of psychological tension, particularly in scenes involving The Greek's obsessive jealousy. The film's visual style blends the glamour of MGM's typical production values with the expressionistic influences that Browning brought from his earlier work.

Innovations

The Show featured several technical innovations for its time, particularly in its special effects work. The beheading sequence in the Salome performance used an early form of prosthetic effects combined with careful editing to create a convincing illusion of decapitation. The film's carnival sequences employed complex tracking shots that followed performers through elaborate sets, requiring innovative camera movement techniques. The production design created fully functional carnival rides and attractions that could be operated safely during filming. The makeup effects for the various sideshow performers were particularly sophisticated for the period, using newly developed techniques to create realistic deformities and exotic appearances. The film also utilized early matte painting techniques to extend the carnival sets and create the illusion of larger crowds than were actually present during filming.

Music

As a silent film, 'The Show' would have been accompanied by live musical performance during its original theatrical run. The original cue sheet, prepared by MGM's music department, called for a mixture of classical pieces and popular songs of the era, with particular emphasis on Hungarian and Eastern European themes to match the film's setting. The Salome dance sequence would have featured exotic, Middle Eastern-inspired music, likely incorporating elements of Richard Strauss's 'Salome' opera. The romantic scenes between Gilbert and Adorée would have been accompanied by popular love songs of the period. Modern releases of the film have featured newly composed scores by silent film accompanists, with some versions using authentic 1920s-style orchestration while others employ more contemporary musical approaches.

Memorable Scenes

• The Salome dance sequence, where the performer slowly removes her seven veils before the shocking beheading of Jokanaan, combining eroticism with horror in a way that was unprecedented for mainstream cinema of the era.
• The opening carnival ballyhoo sequence where Cock Robin delivers his charismatic pitch to the crowd, establishing the film's atmosphere of spectacle and deception.
• The tense confrontation between Cock Robin and The Greek in the carnival's shadowy corridors, where jealousy and hatred finally erupt into violence.
• The final chaotic scene where The Greek attempts to murder Cock Robin during a performance, causing panic among the carnival-goers and exposing the dangerous reality behind the show.

What Critics Said

Contemporary critics praised 'The Show' for its atmospheric direction and strong performances, particularly noting John Gilbert's charismatic portrayal of Cock Robin. The New York Times called it 'a fascinating study of carnival life with all its glamour and squalor,' while Variety praised its 'unusual subject matter and expert handling.' Modern critics have reassessed the film as an important work in Browning's filmography, with many considering it a precursor to his more famous horror films. The film's visual style and psychological depth have been highlighted by contemporary film historians as exemplary of late silent cinema's artistic sophistication. Some modern critics have noted that the film's treatment of its female characters reflects the patriarchal attitudes of its time, though Renée Adorée's performance has been consistently praised for its emotional authenticity.

What Audiences Thought

The Show was a moderate box office success upon its release, particularly strong in urban markets where its sophisticated themes resonated with audiences. Contemporary audience reports indicate that the film generated considerable controversy due to its suggestive content and violent imagery, with some theaters requiring special warnings for patrons. The Salome sequence became a particular talking point, with many viewers finding it both titillating and shocking. The film's romantic elements, capitalizing on the real-life chemistry between Gilbert and Adorée, proved popular with female audiences. However, the film's darker themes and carnival setting limited its appeal in more conservative rural markets. Modern audiences who have seen the film through revival screenings and home video releases have generally praised its atmospheric qualities and performances, though some find its pacing slow by contemporary standards.

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