One of the more intelligent anti-Communist movies that came out in the Fifties was Man On A Tightrope, shot in Bavaria as close as 20th Century Fox could get to Czechoslovakia where the story takes place. Fredric March plays the lead, a circus owner who seemingly knuckles under to the new rulers of his country. For that his daughter Terry Moore is concerned with his mental health. His second wife Gloria Grahame thinks he's become a spineless weakling and starts casting her eyes about the rest of the show.
Not so because March has been ruminating about a plan to get over the border to West Germany and freedom and it's quite the scheme. But it will involve split second timing and the right opportunity which seems to have presented itself. He does have a traitor in his ranks who reports to the local party things in the performance that don't quite tow the party line. When local commissar Adolphe Menjou gives March an ideological pep talk about his clown routine, March realizes he'd better flee and fast.
This film was directed by Elia Kazan who has come down to us sadly as a friendly House Un-American Activities witness and was sadly booed at the Academy Awards when he got a lifetime achievement award. Kazan's long life ended in irony when Pat Buchanan spoke a eulogy on one of the talk shows. Then as now Buchanan was a guy Kazan would have despised, he always considered himself a man of the left.
But in his theater days he saw just how rigid and ideological Communists can be. I've long been convinced that each and every person who appeared at HUAC, friendly or hostile, each did it with his own motives and agenda, some good, some evil. Adolphe Menjou for instance was a rabid rightwinger who left a nice size bequest to the John Birch Society. His agenda was different certainly than Kazan's.
More than On The Waterfront which has come down in film history as Elia Kazan's apologia for being a stool pigeon, Man On A Tightrope is a far more personal work. March is playing Kazan as artist resenting any political intrusion of any kind in his work. Unless you realize that this film will have no meaning.
Kazan assembled a truly good cast and got some great performances, especially from Fredric March. Man On A Tightrope should be seen by today's audience for a real understanding of the era and of Elia Kazan.
Not so because March has been ruminating about a plan to get over the border to West Germany and freedom and it's quite the scheme. But it will involve split second timing and the right opportunity which seems to have presented itself. He does have a traitor in his ranks who reports to the local party things in the performance that don't quite tow the party line. When local commissar Adolphe Menjou gives March an ideological pep talk about his clown routine, March realizes he'd better flee and fast.
This film was directed by Elia Kazan who has come down to us sadly as a friendly House Un-American Activities witness and was sadly booed at the Academy Awards when he got a lifetime achievement award. Kazan's long life ended in irony when Pat Buchanan spoke a eulogy on one of the talk shows. Then as now Buchanan was a guy Kazan would have despised, he always considered himself a man of the left.
But in his theater days he saw just how rigid and ideological Communists can be. I've long been convinced that each and every person who appeared at HUAC, friendly or hostile, each did it with his own motives and agenda, some good, some evil. Adolphe Menjou for instance was a rabid rightwinger who left a nice size bequest to the John Birch Society. His agenda was different certainly than Kazan's.
More than On The Waterfront which has come down in film history as Elia Kazan's apologia for being a stool pigeon, Man On A Tightrope is a far more personal work. March is playing Kazan as artist resenting any political intrusion of any kind in his work. Unless you realize that this film will have no meaning.
Kazan assembled a truly good cast and got some great performances, especially from Fredric March. Man On A Tightrope should be seen by today's audience for a real understanding of the era and of Elia Kazan.