POLLY OF THE CIRCUS (Metro-Goldwyn-Mayer, 1932), directed by Alfred Santell, stars Marion Davies in the title role taken from the 1907 play by Margaret Mayo. Previously filmed for Goldwyn Studios in the silent era (1917) starring Mae Marsh, this early sound retelling is better known more for the youthful presence of Clark Gable early in his career. Though Davies was a bigger marque name than Gable at the time, and deemed suitable as Mademoiselle Polly of the circus, many regard Gable miscast as the Episcopal minister. Having already played a man preaching the word of God as a Salvation Army officer in LAUGHING SINNERS (1931), the same year he enacted such villainous characters, namely in NIGHT NURSE (Warner Brothers), Gable was slowly developing from tough guy to man of romance without losing his he-man exterior. With material brought up to date, this 69 minute screen edition gives some idea as to how either the play or silent screen adaptation were earlier presented.
The story revolves around Polly Fisher (Marion Davies) a trapeze artist for the Nailor Circus on a train bound to the Vermont town of Oronta. Many in the troupe notice the passing billboards featuring Polly in tights with her legs covered by bloomers. Because Oronta is a conservative town where residents find Polly's poster indecent, Polly seeks to find the one responsible for disfiguring her posters. She heads over to the church to confront the Reverend John Hartley, mistaking the much elder Reverend James Northcutt (C. Aubrey Smith) for Hartley. She becomes surprised to find the real Hartley (Clark Gable), Northcutt's nephew and rector of the church, to be a much younger man. Learning the one actually responsible for the improved billboards, Polly still insists on performing in the manner of her photographed poster. During a matinee performance doing a trapeze act where John is seen seated in the audience, Polly meets with a serious accident, plunging 50 feet to the ground. With the hospital being too far away, Polly is taken to John's nearby ministry house where she, under doctor's orders, must remain for several weeks, much to the dismay of Downey (Raymond Hatton), a maintenance worker who feels Polly to be immoral. John agrees in having Mrs. Jennings (Maude Eburne) look after Polly during her weeks of recuperation. During that time, Polly becomes a changed person having been reading the Bible in her spare time and soon becomes John's love interest. Under the objections of his uncle, John marries Polly anyway. Finding that no other congregation will take him in as their minister, John earns his living selling Bibles at $28 a week. Realizing John's first love is his church, Polly must come to a decision to what she can do to save her husband from any further disgrace.
Others in the cast include David Landau (Beef); Guinn Williams (Eric); Ruth Selwyn (Mitzi); Clark Marshall (Don) and Little Billy (Half-Pint). Look fast for the uncredited Ray Milland in three brief scenes.
As much as the role of John Hartley could have been played by either a Leslie Howard or newcomer Franchot Tone (not yet working for MGM), Clark Gable's presence and the well-staged trapeze acts (performed by professional doubles) makes this worth watching. It's also one movie where one wishes Gable performed with a mustache, which would have made him appear a much stronger character. His trademark mustache, however, wouldn't happen until the latter half of STRANGE INTERLUDE (1932). Yet, when he reunited again with Marion Davies one last time for CAIN AND MABEL (Warner Brothers, 1936), Gable went minus mustache one last time on screen. Though both films starring Davies and Gable are agreeable productions, they each lack any sense of greatness.
Available on DVD, POLLY OF THE CIRCLE did have some cable television showings over the years, namely Showtime (2007) and more frequently on Turner Classic Movies. (**)
The story revolves around Polly Fisher (Marion Davies) a trapeze artist for the Nailor Circus on a train bound to the Vermont town of Oronta. Many in the troupe notice the passing billboards featuring Polly in tights with her legs covered by bloomers. Because Oronta is a conservative town where residents find Polly's poster indecent, Polly seeks to find the one responsible for disfiguring her posters. She heads over to the church to confront the Reverend John Hartley, mistaking the much elder Reverend James Northcutt (C. Aubrey Smith) for Hartley. She becomes surprised to find the real Hartley (Clark Gable), Northcutt's nephew and rector of the church, to be a much younger man. Learning the one actually responsible for the improved billboards, Polly still insists on performing in the manner of her photographed poster. During a matinee performance doing a trapeze act where John is seen seated in the audience, Polly meets with a serious accident, plunging 50 feet to the ground. With the hospital being too far away, Polly is taken to John's nearby ministry house where she, under doctor's orders, must remain for several weeks, much to the dismay of Downey (Raymond Hatton), a maintenance worker who feels Polly to be immoral. John agrees in having Mrs. Jennings (Maude Eburne) look after Polly during her weeks of recuperation. During that time, Polly becomes a changed person having been reading the Bible in her spare time and soon becomes John's love interest. Under the objections of his uncle, John marries Polly anyway. Finding that no other congregation will take him in as their minister, John earns his living selling Bibles at $28 a week. Realizing John's first love is his church, Polly must come to a decision to what she can do to save her husband from any further disgrace.
Others in the cast include David Landau (Beef); Guinn Williams (Eric); Ruth Selwyn (Mitzi); Clark Marshall (Don) and Little Billy (Half-Pint). Look fast for the uncredited Ray Milland in three brief scenes.
As much as the role of John Hartley could have been played by either a Leslie Howard or newcomer Franchot Tone (not yet working for MGM), Clark Gable's presence and the well-staged trapeze acts (performed by professional doubles) makes this worth watching. It's also one movie where one wishes Gable performed with a mustache, which would have made him appear a much stronger character. His trademark mustache, however, wouldn't happen until the latter half of STRANGE INTERLUDE (1932). Yet, when he reunited again with Marion Davies one last time for CAIN AND MABEL (Warner Brothers, 1936), Gable went minus mustache one last time on screen. Though both films starring Davies and Gable are agreeable productions, they each lack any sense of greatness.
Available on DVD, POLLY OF THE CIRCLE did have some cable television showings over the years, namely Showtime (2007) and more frequently on Turner Classic Movies. (**)