THE GREATEST SHOW ON EARTH cost $3,873,947.00 to produce (or the equivalent of about $33 million of today’s dollars.) DeMille wanted to open it as a limited-engagement road show attraction, but it was eventually decided to give it a general release. It had its New York premier at Radio City Music Hall on January 10, 1952 and its Sarasota premier on January 31, 1952, exactly one year to the day when shooting had commenced at winter quarters. Despite the contrived, overly melodramatic story, it was a box-office smash, with many movie-goers returning to see the film two or three more times. As part of the agreement that Paramount signed with Ringling, the Circus received a percentage of the film’s huge profits, which went a long way towards helping to keep the show afloat for the next few years. (In his book THE CIRCUS KINGS, Henry Ringling North acknowledged that THE GREATEST SHOW ON EARTH saved the Greatest Show on Earth!) It won two Academy Awards, one for best screenplay and one for best picture. Over the years, it was re-released a number of times and always did good business. In terms of the number of PAID ADMISSIONS, it ranks right up there with STAR WARS, HARRY POTTER, INDIANA JONES, etc. Much of the film’s popularity and reputation is due to its now-historic location footage showing the Sarasota winter quarters, the unloading and set-up, lengthy portions of the actual 1951 performance including the production numbers, featured performers, etc. It is readily and inexpensively available on DVD, making it possible for everyone to own their own copy and watch it as often as they like.
In closing, special thanks is in order to all of you who, over the last few weeks, contributed much valuable and interesting information related to the making of THE GREATEST SHOW ON EARTH, as well as photos, memorabilia from personal collections, bits of dialogue, song lyrics, and information which helped to identify who and what we were seeing in the frame enlargements. (If we missed your favorite scene, we’ll be sure and include it in 2016 when we celebrate the film’s 65th Anniversary!) EXTRA special thanks is due to Buckles for finding the space for some 258 GSOE frame captures in addition to all of the other interesting material that was submitted to him while our celebration was going on. |
9 comments:
This was a GREAT series, thanks to everyone involved. It would be great to do this with other important circus films on a periodic basis. It was fun seeing a lot of people that we have known, or heard about over the years past. Thanks, again! ~frank
Thanks everybody for all the pictures and comments.I looked forward ever morning to see the next set and re-watched the movie twice Scott Bryan
The Greatest Blog on Earth ! Come again laadies and gentlemen, come again.
Thanks for sharing the many stills from the movie. I can't wait to see it again.
For me, it brought back a little of my youth and so many wonderful memories. It never bothered me at the time that I was not listed in the credits, as everyone knew it was me as they were all there during the making. I was on the show and just called in at the last minute as I happened to be in Sarasota at the start of the filming. I am sure, as I look back, that it was just an oversight. Well, some place in the listing it says some thing about "and others', I don't remember the wording. There are still some living witnesses, for one Norma Fox. I used her trapeze as I had not rigging at that time. Thank you for going through all that work to get all those still shots. Thank you so much for all of the memories you have given to me. Now at 84, they came back so clear in my mind. Thanks again, Jackie LeClaire
Thanks to Eric and his son for this epic contribution, and to Buckles and Shannon for having a great site to give it this memorable showcase.
Found on the net:
Charlton Heston was driving through the Paramount studio when he spotted Cecil B. DeMille (whom he had never met) and waved at him. DeMille was so impressed by Heston’s wave he made inquires that ultimately led to Heston being cast as Brad in this film. This was only Heston’s third film which skyrocketed him to fame.
One fan wrote a letter to DeMille on how much she enjoyed the movie and commented, "And I’m surprised how well the circus manager worked with the real actors." Heston thought it was one of the best reviews he ever received.
Whitey has it right on Heston getting Brad. In a DeMille bio, Heston's cheery wave prompted the director to ask his secretary, "Who was that?"
"Oh, that's Charlton Heston. You saw him last week in DARK CITY. You didn't like the picture, but you liked him."
"Oh, yes," C.B. mused, "Well, we better have him in about the circus manager."
And the rest...
Thanks again, Eric.
"You can shake the cobwebs outta yer head, but you can't shake the blog outta yer heart!" ~frank
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