史蒂芬·博伊德、多莉丝·黛参加演出。讲述了一个江湖女到了马戏团后与马戏团团长发生的爱情故事，其中马戏表演是本片的一大看点。

I remember seeing this film as a lad on a family outing in Manhattan, topped off by my insistence that we have dinner at Jack Dempsey's Restaurant in Manhattan. Too bad the old champ wasn't there that day or it would have been a perfect Sunday. Seeing it now on a formatted VHS the awesomeness of the spectacle during the scenes of the circus fires and the capsized ship in the harbor is really lost. It's quite an eyeful and should only be scene in theaters. And the film would be revived, but we have a subdued John Wayne here and it's not for the better. This was originally to be a Frank Capra film and Capra bowed out after creative differences with the Duke and some of the Duke's personal entourage. Read the Capra autobiography to find out exactly what they were, but they weren't fully fixed in the final product by director Henry Hathaway who later piloted the Duke to his Oscar in True Grit. John Wayne was a guy who was usually very careful to give the public the Duke they expected. Even when he stretched his abilities it was done with a firm directorial hand. We're asked to accept the Duke as a man who had an adulterous affair here. He also does not throw one punch in this entire film or fire a weapon in other than it being part of his Wild West Show. The people went to see John Wayne, but they didn't get their money's worth. Pity because it would have been great to see John Wayne with Rita Hayworth in a great film. That couldn't have happened when they were younger because of Rita's contract with Columbia pictures and Wayne's personal boycotting of that studio because of his dislike for Harry Cohn. That story I won't go into. Rita Hayworth who doesn't enter into the film until almost halfway through is fine as Wayne's lost love. She and Claudia Cardinale looked just fine in tights as trapeze artists. Lloyd Nolan as Wayne's sidekick is always good. Richard Conte is Hayworth's brother-in-law and Cardinale's uncle. This fine actor is wasted here in a part that either was badly written or left on the cutting room floor. John Smith was a Wayne protégé of sorts, Wayne gave him an early break in The High and the Mighty which he produced. Smith went on to star in the Laramie TV series and on completion of that he was cast opposite Cardinale, probably at Wayne's insistence. I remember always wondering what happened to him because he left show business shortly afterwards. Then back in the Nineties I read he had died of cirrhosis of the liver. I guess you can fill in the blanks. At the time Circus World came out, there was on television a prime time series called International Showtime. It was on Fridays at 8 pm. and it was set in a different city in Europe every week. Hosted by Don Ameche it featured the very best circus acts in the world. So did Circus World, but it certainly was no incentive for people to come out to see this when they could see the same thing at home. Also Paramount re-released Cecil B. DeMille's The Greatest Show on Earth to a brisk box office business at the same time Circus World came out. So for all these reasons Circus World flopped and bankrupted producer Samuel Bronstein. Nevertheless if you're a circus fan you will enjoy seeing this. But it's not the Duke his fans have come to expect.

法国无声纪录短片《马戏》（法语：La Voltige），由路易斯·卢米埃尔（Louis Lumière）拍摄于1895年。该片是1895年12月28日卢米埃尔放映机首次商业放映的10部影片之一。

暂无剧情简介

《窈窕马戏》以16毫米胶片拍摄，讲述一位女性拟音艺术家为驯马主题广告服务过程中，逐渐发现自我身体的扭变，并与一位植物学家缔结复杂的情欲权力关系。 导演安·欧伦如此概括本片：“这是一封写给所有被低估的电影魔术师的情书，也是围绕差异性展开的一次嬉戏的庆典。藉此良机，观众将得以尝试以肉体来观看、以双眼来感知。”

《窈窕马戏》以16毫米胶片拍摄，讲述一位女性拟音艺术家为驯马主题广告服务过程中，逐渐发现自我身体的扭变，并与一位植物学家缔结复杂的情欲权力关系。　　导演安·欧伦如此概括本片：“这是一封写给所有被低估的电影魔术师的情书，也是围绕差异性展开的一次嬉戏的庆典。藉此良机，观众将得以尝试以肉体来观看、以双眼来感知。”

Country boy joins a circus in the 1840s and falls in love with the bare-back rider. Later he falls in love with another circus runaway.

The film chronicles three days when a circus visits a small village in Kerala and creates ripples in the lives of the people. During this time, we learn the geography of the village - the banyan tree with leaves like transparent film, the shining water, the light in the sand at sunset… The film shows the lives of the villagers - school children running to the tent, the village women watching the acrobat perform, the soldier who befriends the circus strong man in a toddy bar, a pump attendant who sits on a rock each day watching a village girl bathe and dry her hair, the dwarf who brings back to the circus a watermelon larger than his head…. The bizarre characters from the circus merge with the local populace. The circus comes and leaves, and life goes on. Thambu won Aravindan the National and State film awards for the best director. Direction & Screenplay: G Aravindan Cast: Gopi, Nudumudi Venu, Sriraman, Jalaja, members of the Great Chitra Circus Cinematography: Shaji N Karun Music: M G Radhakrishnan When you planned the film THAMBU, what was uppermost in your mind: was it the problems and insecurities of the circus artists or the response of the villagers to the circus tent? I planned THAMBU as a documentary feature. The film was shot in Thirunavaya on the banks of Bharathapuzha. I came to this village with ten to fifteen circus artistes who had already left their circus company. We did not have a script, and we shot the incidents as they happened. What we did on the first day was to call all the villagers and perform a circus act for them. There were a lot of people who had not seen a circus before. We shot their responses as they were watching. We did not ask them to do anything. After the initial hesitation, they forgot the lights and the shooting and completely got involved in the circus. It was all very original. At that time the village was also getting ready for the Ayappan Vilaku festival, which we used in the film. Finally the whole village got so involved in preparing for its festival, they lost their interest in the circus. The film ends there. In fact it is a location film. Well, in THAMBU also, there is a discontented young man. This character was there in the film - young man from an upper middle class family returned from abroad and settled in the native land. I am fascinated by these kind of people. You see similar people in UTTARAYANAM also. This 'return' has been with us for a very very long time. Earlier people 'returned' from Singapore, Burma, Ceylon etc. Now they 'return' from the Gulf. That is the only difference. When they 'come back' they will build a big bungalow and live isolated from the others around. Their relationships are confined to those of similar 'type' - they will of course have their "weekend gatherings". The question is why do they 'come back' if they are unable to or do not want to mix with the people around? My young man is someone who is discontented with this sort of isolation and wants to be in tune with the people and surroundings. He does not like to sit at home. He starts learning to read Malayalam and then ask the circus whether he can join them and ultimately goes away with them. Just a small comment. Although apparently 'regional', your films, one could say are much broader - Indian. Your comments on contemporary issue reflect more a cynicism towards the present (as in your cartoons) than a nostalgic return to the past. To get back to the film - the young man has never been to see a circus, has he? No. When the circus goes back he just goes along with them. When a circus is on the move, the artists are resting or asleep. They have nothing to expect or remember from the places they visit or stay in. This young man takes a decision to go with them. Why? Perhaps a recognition that he is no different from them! Or is this decision merely coincidental? He could not get along with his family. To escape the home atmosphere he goes and finds a place under the Banyan tree and learns to read etc. I have included in the film the moment of his decision to join the circus. At home he was surrounded by rock music while he himself loves classical music. There you see him asking the circus to take him along. The circus manager tells him to get into the van. At that moment he has not identified himself with the circus - he is merely escaping from his environment. No one has taken note of him in the circus company. The film ends with the sequence of him sleeping by the side of the circus clown. For the circus, this journey is a stagnation. A period of rest, where as for the young man this trip is a progress and escape. We cannot really say predict what he will become or do... He could become anything...even a circus clown... We are not making it clear. The emphasis is on his escape from the immediate environment. As you are talking about the journey of the young man, it occurs to me that all your films have this aspect of a voyage to self-discovery or a 'movement' towards betterment of humanity. e.g. in KANCHANA SEETA, Rama carrying the sacrificial fire and going into the Sarayu River; in UTTARAYANAM, Ravi going into the forest; the arrivals and departures of the bogeyman in KUMMATTI according to the seasons; in CHIDAMBARAM Shankaran Kutty's search for peace in his troubled conscience etc. Your films seem to be myriad manifestations of the deep desire of human kind for answers, peace, meaning…? (Remains silent)

在中国珠海，全世界最大的马戏场馆之一——长隆剧院正在建设中。为迎接剧院开幕，一场大型马戏表演《龙秀》正在紧张排练。长隆国际大马戏是中国最大的马戏团，拥有来自二十多个国家的三百多名全球顶尖马戏艺术家。要在三个月内完成演员选拔、排练、舞台设计等工作，这似乎是一项不可能完成的任务。而这项艰巨任务落到了导演李西宁的肩上。在这个过程中，有冲突与磨合，有希冀与绝望，绚丽演出的背后是残酷的现实。