User Reviews

Enjoyed this great 1956 Classic film starring Burt Lancaster, (Mike Riddle) who gave an outstanding performance as an experienced trapeze artist. In real life, Burt left Northwestern University in Evanston, Illinois in his second year and decided to join a circus and traveled all around performing on the high wires. As Burt's movie career became successful, he had the opportunity to make this picture which he had longed to do for many years. Burt teams up with Tony Curtis, (Tino Orsini) who gave a great supporting role along with the beautiful Gina Lollobrigida, (Lola) who added her great charm to this picture and had two men fighting over her for her love. Thomas Gomez,(Bouglione) was the circus manager and gave an outstanding performance to his role as a man who ran his circus with an iron fist. This is a great picture with great veteran actors, enjoy.

Almost a great circus movie, (if such a thing could exist), "Trapeze" comes closer than most to capturing the tawdry excitement of the milieu. While most circus pictures are aimed at kids this is aimed, if not quite at adults, then at least at older kids. It's sexy and it makes the whole business of being a trapeze artist seem like the sexiest, most exciting thing in the world.

It's about the rivalry that can develop, both professionally and romantically, between artists and the director, Carol Reed, gives the film a charge that his more famous and infinitely more civilized films don't have. As the trio of artists who are almost consumed by their passions Burt Lancaster, Tony Curtis and Gina Lolobrigida have an instinctive rapport. Lancaster and Curtis' performances here seem like a dry run for their work a year later in "Sweet Smell of Success" and Lolobrigida never looked or acted better. Although Lancaster wasn't young when he made this, he's like the biggest kid in the playground and seems to be having a hell of a time while Lolobrigida is a dynamic tease.

Burt Lancaster, Tony Curtis, and Gina Lollbrigida star in "Trapeze," which depicts the life of trapeze artists in a circus. Tony Curtis wants to be a great trapeze artist and thinks he's ready for it, except for one thing, the triple somersault. And, he needs Burt Lancaster to teach him. But, Burt has quit the spotlight since he tried the triple and fell. But, when he sees Tony and what he can do, he thinks Tony can do a triple. But, he won't tell him so, at first. Enter Gina. She has a wire act of her own, and she want to get in on the main attraction. And, of course, love enters the picture.

This may have a why should I care? feel to it, as it may not interest some people at all. But for those who will be watching for the stars, the rewards are many. This is a more personal and realistic (of course how should I know) story and treatment of what goes on beyond the high wire act than Cecil B. DeMille's "The Greatest Show on Earth." We are allowed to see beyond the glamorous lifestyle and see them as people who are trying to express themselves while existing here on this earth. This has a deep respect for its subject matter and its characters and shows how they have to work together in order for the act to work, and not just because of the obvious physical risks involved but because they are supposed to be a team and not looking out only for themselves.

Plus, Lancaster apparently had some experience in this and performed most of his stunts, and, after Tony and Gina practiced a lot, they did as much as they could. So you do get the real thing and some really good and sincere performances.

If you want less DeMille-like glitz and more substance, then this is the circus for you.

I remember seeing "Trapeze" as a youngster in the mid-1950's. But watching it recently, many decades later, I was surprised at how well it has held up.

Set in a circus in Paris, Mike Ribble (Burt Lancaster), a famous trapeze artist crippled in a fall, trains a promising young aerialist, Tino Orsini (Tony Curtis).

They form a strong bond and aim for Tino to complete a dangerous triple somersault. However, beautiful, ambitious Lola (Gina Lollobrigida) manipulates her way into the act, and the ensuing love triangle proves more dangerous than any somersault.

In the novel that the film was based on, "The Killing Frost" by Max Catto, Mike Ripple's feelings towards Tino Orsini are beyond mere friendship, and he resents the arrival of the woman not just because she is interrupting their training schedule. His jealously leads to murder at the end of the book. Now a gay theme was never going to get past the censor in a 1956 movie so the ending plays out differently, but there is an undercurrent.

It was shot for the most part in the Cirque d'Hiver in Paris. The director Carol Reed and Photographer Robert Krasner, who worked together on "The Third Man", caught the high-flying trapeze work just as brilliantly as they had captured Harry Lime scurrying down those Viennese sewers.

Burt Lancaster with his circus background did many of his own stunts, but Tony Curtis and Gina Lollobrigida also did some: climbing tricky rope ladders and swinging from the platform - enough for you to believe they are really up there.

Kate Buford in her book "Burt Lancaster: An American Life" relates how Burt Lancaster and Gina Lollobrigida did not get on, however it gave their performances bite. Lancaster looks amazing in this film; muscles, teeth and intensity. Curtis really was a star on the rise; he and Lancaster hit it off and starred together again in the brilliant "Sweet Smell of Success". But 'La Lollo' more than holds her own. She looks sensational with a full figure and a waist you could close your hands around.

If I have a criticism, it is with the Malcolm Arnold's score. Arnold scored many British films in the 50's and 60's, and most of them sounded the same - he didn't change gears much for this one.

Uninspired score aside, "Trapeze", with its powerhouse trio of stars and its authentic look, is a film I can happily revisit.

Actually I think Trapeze is a fairly decent depiction of a 1950s European flyer's act. And I understand that Mr. Lancaster was an acrobat whose career was ended due to injury prior to his becoming an actor. So this may have enabled him to have a good feel for his role.

But I'm also a bit biased. I've been to a couple of circuses in Paris, which seemed to mirror the film's atmosphere and I actually met the actors who starred in this film.

In 1955 I was living on an American military base near Paris where Trapeze was being filmed. The USO hosted a gathering on base and Tony Curtis and Gina Lollabrigida appeared to promote the film and sign autographs. My older sisters got their photos taken with Mr. Curtis.

So naturally, whenever I catch this film on late night cable, I see it from a nostalgic point of view.

Curtis was young...Lancaster was in his prime.....The trapeze performances were stunning and despite the predictability of the story, Trapeze was a wonderful movie. Though a little "hokey" at times, and dated perhaps today, the warmth, sincerity, and circus-realism makes this a mild classic!

Carol Reed was one of Britain's most interesting directors, and perhaps most intriguing about his work is his unique brand of stylised realism, the two conflicting moods astutely and unforgettably blended: the handsome, dream-like snow-storm in 'Odd Man Out (1947)'; the woozy war-torn streets of Vienna in 'The Third Man (1949)'; the blending of fantasy against a working-class London background in 'A Kid for Two Farthings (1955).' With 'Trapeze (1956),' Reed deliberately contrasts his use of fantasy and realism. The circus had long held an element of prestige, having spawned a tidy sub-genre of its own, encompassing everything from Lind's 'The Flying Circus (1912)' to DeMille's 'The Greatest Show on Earth (1952).' For decades, the circus has entertained the masses with daring acts of strength and bravery, dangerous animals and extraordinary human performers. But behind this glamour is a less enchanting side of the circus – endless practice sessions, money-hungry managers, and scheming performers who'd place their own interests before those whose lives are being placed in their hands nightly. 'Trapeze' deals with the collision of these two conflicting worlds.

Mike Ribble (Burt Lancaster) was once a great "flyer" of the trapeze, one of the few men who could execute a triple somersault. However, a tragic accident left him with a permanent limp, and Mike has since lost all interest in the sport he once dominated. That, at least, is until Tino Orsino (Tony Curtis) arrives in Paris, a keen acrobat who seeks Mike's expert instruction. That Ribble eventually agrees to the partnership is, of course, a given, and their ultimate accomplishments are never in any doubt, but the interplay between Lancaster and Curtis is authentic and entertaining. Reed depicts the indomitable circus prestige through audience applause and the cheerful melody of the "Blue Danube" waltz. When the antagonism being played out behind-the-scenes inexorably spills out into the performing arena, both the applause and the music comes to a standstill. Thus, interjecting into this fantasy world comes the realisation that the circus performers are only human. The reality suddenly becomes clear: one mistake will spell almost certain death.

Though Mike and Tino make a formidable team, a romantic complication arises in Lola (Gina Lollobrigida), an ambitious acrobat who'd betray her friends and promise love to anybody whom she thought could aid her career. Lola's exploits are contemptible throughout the film, garnering little sympathy from the audience; one might even suggest that the beating she receives at the hands of her former partners is almost justified by her actions. In any case, the film's conclusion is far too kind to her. Lola chases Mike down a quiet Paris street, perhaps a complementary allusion to Holly Martin's shameful snubbing in the final moments of 'The Third Man (1949).' Maintaining the optimism that Reed displayed previously in 'A Kid for Two Farthings,' this ending offers redemption rather than disgrace to Lola, who is seen to have betrayed her companions, much as Martins betrayed Harry Lime and Anna Schmidt. Most impressive of all is Robert Krasker's creative photography, frequently offering the audience a breathtaking "birds-eye" view of the trapeze routines, like leaning over a precipice into open space.

Despite this being a circus film and I usually hate circus films, this one was pretty good. While it was far from perfect, the acting and writing were good. What I also liked was the seamless way the actors did the trapeze work. I realize some stunt people must have been used, but also know that Burt Lancaster was quite the athlete and was pretty competent on the trapeze, so the stunt-work was less extensive than it might have been with other actors. In some ways it seemed like a non-comedic version of the Crimson Pirate due to all the flips and tumbles. About the only short-coming, and it was minor, was that the romantic aspects of the film seemed to be the weakest link because the viewer ultimately KNOWS what MUST happen in the plot. But, it still somehow works out fine.

Carol Reed has often been viewed as a great director of British films. This is the second film of his I've seen, after the (truly) classic "The Third Man". It is not what I'd have expected from Reed. The script lacks wit, surprise or innovation; it's tough to contemplate why Reed chose to make a film based on such a run-of-mill story. The saving grace tends to be the acting. Burt Lancaster fares best, offering charisma and some depth. Curtis is profficient as the overly naive pupil of Lancaster, while Gina Lollobrigida offers a steady portrayal and much radiance. The circus ambience is well created, and everything seems realistic. The trapeze act is breathtakingly filmed, it has to be said, and the colour is effective.

A minor effort from Carol Reed, that against all odds, is never boring. Rating:- *** (out of *****).

Burt Lancaster, Tony Curtis and Gina Lollabrigida star in "Trapeze," a 1956 film directed by Carol Reed and also starring Katy Jurado, Thomas Gomez and Johnny Puleo. Lancaster plays a former trapeze artist turned rigger, Mike Ribble, working in a Paris circus. A once great artist, he is grounded due to a permanent injury while doing his famous triple. He is approached by Tino Orsini (Tony Curtis), a talented aerialist who wants to learn the triple. Ribble sees the man's talent immediately, takes him on, and agrees to be his "grabber," the man who catches him mid-air. Problem arise when the beautiful, seductive user Lola (Gina Lollabrigida) who plays both men in order to be part of the act.

Director Reed gives the viewer the vivid experience of working in the circus and the resulting pressure cooker of relationships. The trapeze work is glorious, and there is plenty of it.

Lancaster has the major role, and he gives an excellent performance as a man with no illusions who, through Tino, dares to dream again. His muscular build is shown to great advantage as well. Curtis is excellent as the young, ambitious Tino who falls hard for Lola. Lollabrigida is gorgeous and sexy as the alluring Lola - she does a good job, but really, all she has to do is stand there and she IS the role. The supporting cast is solid, including Katy Jurado as an ex-girlfriend of Mike's and Thomas Gomez as the owner of the circus.

I don't have any figures, but I suspect this film was a big hit. It led to another Lancaster-Curtis collaboration, Sweet Smell of Success, so for that reason alone, it would be worth it. However, Trapeze flies on its own merits.

In Trapeze Burt Lancaster finally realized an ambition to return to his roots as a circus acrobat and do a film under the big top. When he and Tony Curtis and Gina Lollobrigida are soaring through the air, Trapeze is a thing of beauty. Unfortunately on the ground it's firmly fixed to mediocrity with a very melodramatic triangle subplot.

Lancaster plays a once promising aerial artist who perfected the triple somersault in the air. But doing it once too often shattered his career along with his leg. Lancaster now works as a rigger for Thomas Gomez's circus.

But one day when young Tony Curtis, a would be Trapeze artist comes to the circus seeking out Lancaster, Burt recognizes the talent that is there after some initial misgivings. He agrees to become Curtis's catcher and teach him the tricks of Trapeze trade.

What complicates things is goldigging Gina Lollobrigida a jack of all the circus trades who desperately wants to get to America. She's an old girl friend of Lancaster, but sees in Curtis her meal ticket. He's after all the one with the talent and the young reflexes. Lancaster's wise to her, but she does get the old hormones going in Burt.

Seeing Lancaster doing his own trapeze stunts is quite a marvel, but in fact it was his old trade. I'm sure being the producer of Trapeze helped because if this had been a studio production the bean counters in the front office would have been going out of their minds at seeing their big star risking life and limb.

Katy Jurado has a nice if somewhat undefined role as a bareback rider who also has an old time yen for Burt. Thomas Gomez is quite the schemer as the owner who naturally wants to keep the act intact and working for him and not going to a bigger show. That bigger show is Ringling Brothers,Barnum&Bailey circus in America and Minor Watson plays the real life John Ringling North.

Unfortunately for Trapeze, Cecil B. DeMille's The Greatest Show On Earth set an impossible standard for circus pictures. Maybe if it had concentrated on the aerial and left the romance alone, Trapeze would be better thought of today.

Next year Burt Lancaster and Tony Curtis teamed for Sweet Smell of Success. Now that's the film the two will be better remembered by far.

Carol Reed, an English filmmaker, made such an outstanding magnum opus that it left his other films into oblivion many of which are still hiding somewhere. The Third Man (1949) might just be the most famous film-noir ever made and the most iconic film of the Cold War. Even though his other films aren't as good, they're at least fairly interesting. Although, many of Reed's films won awards at several festivals, he never achieved the same fame he did with The Third Man. However, its success was somewhat paradoxical: because it did rise him to the world of cinematic auteurs and gave him the possibility to achieve almost anything but, on the other hand, it was such a masterpiece which was almost impossible to overcome. Therefore, his other films are quite unknown, just like Trapeze even though it won an award at the Berlin Film Festivals and has got quite a cast.

It's a story about an ambitious beauty (Gina Lollobrigida) who stirs up trouble between two male trapeze stars. One of them is a youngster (Tony Curtis) who wants to become the greatest aerialist in the world. But only one man can teach him the hardest trick; an older aerialist (Burt Lancaster) who has hurt himself in an injury and has been left alone by an old lover of his. It is a story about disintegration but it leaves on a happy note.

To put it briefly, Trapeze is a circus melodrama about a love triangle, with some homo-erotic tension between Curtis and Lancaster who starred together one year later in a crime classic Sweet Smell of Success (1957). Although, at first Trapeze feels a little too schematic and conventional, it grows out to be quite a mature interpretation of the choice made between love and art. Even if the set-up is quite juvenile and built on clichés and conventions, Trapeze is still extremely well directed and filmed -- especially the trapeze sequences with Wagner's music on the background. To my mind, it is a fascinating look at the eternal contradiction between art and entertainment.

Before "The Greatest Showman", there was "Trapeze", okay, and "The Greatest Show On Earth" but this three-hander, starring Burt Lancaster, Tony Curtis and Gina Lollobrigida more than wipes the sawdust with its better-known rivals.

Sure it too employs every big top cliche going and for good measure throws in a scarcely credible love triangle covering every angle among the three principals, i.e. Burt's character clearly loves Tony's character in a tough-love fatherly way, which is reciprocated adoringly by the new young protege, until Gina comes between the two men, not only threatening to break their bond of masculine friendship but also their professional relationship, just when they're on the verge of completing an almost legendary triple somersault trick which could see them recruited by a big-name circus for better big-top fame and fortune.

Evocatively and colourfully set in Paris, director Carol Reed does a good job managing the silly to-ing and fro-ing plot and especially the filming of the highwire stunts. Of course it helps that Lancaster worked as a circus acrobat in his youth but with clever editing and camera-positioning, you almost believe Curtis and Lollobrigida were trapezists too.

Lancaster dominates the screen as the central character Mike Ribble, around whom the whole film revolves and unsurprisingly he carries off this responsibility with no little aplomb or panache. Curtis is fit and handsome as the adoring but still ambitious protege and while Lollobrigida is typecast as the feisty Latino heartbreaker, she does at least convince the viewer of her ability to bewitch any man she meets.

So roll up roll up and hurry hurry to watch this wonderfully daft and over-the-big-top feature, a splendid time is guaranteed for all.

A crippled circus acrobat called Mike Ribble (Burt Lancaster) who was once a great trapeze artist -and the only the sixth to have completed a triple somersault before his accident- is torn emotionally between two ambitious young trapeze artists, one a talented young American and a less-gifted but gorgeous Italian . As Tino (Tony Curtis) joins the circus, and he insists on doing the climactic triple somersault , though Mike initially was hesitant on Tino performing the stunt , the latter eventually manages to convince him to teach him the dangerous 'triple' acrobatics . Along the way , the mean Lola (Gina Lollobrigida) , a tumbler , wants to get in on the act . High...High...High...Above Them All! - in excitement!- in spectacle! - in fire, flesh and fury!.The wonder show of the world!.It happens there in mid-air...in all its fire, flesh and fury! .One flies and one catches. Nobody gets in between !.

Carol Reed is an expert in realization of high-budget films with glamour where the greatness does not lack even a moment , here gets to make a nice tribute to the circus world and its surroundings . This hugely agreeable film is a faithful reflection of the title . This is tone of one the best Carol Redd films , here in all his epic glory , he is the great director of the greatness . It has a fantastic scenario , great circus movement , and even spectacular scenes for the time. The story is fine , wrought with romance , twisted love stories , and impressive frames with enormous pedigree. The film is a melodramatic and romantic tale with the classic triangular love story between Lancaster-Lollobrigida-Curtis and meshing drama with events offstage along with some really breathtaking scenes in the aerial trapezes . The movie based on the novel "The Killing Frost" by Max Catto is wrought with romance and glamour but is pretty simple as well . Burt Lancaster performed all but one of the trapeze stunts himself , only actor having worked in a circus before entering films, along with his usual colleague Nick Cravat who was his longtime friend, in fact stuntman Nick Cravat carried out some acrobatics . While real acrobat Willy Krause, a close personal friend of Burt Lancaster, was asked to do the spectacular stunts as well . It packs some patently faked ones with players in front of obvious blue real projection. This colorful and dramatic flick packs amazing shows and exciting final , including brilliant cinematography by Robert Krasker and rousing score by Malcolm Arnold. Extraordinary cast and good performances , especially from starring duo Burt Lancaster and Tony Curtis , both of whom are top-notch under Carol Reed's correct direction . Furthermore , some scenes the actors perform their own stunts . While Gina Lollobrigida is extremely beautiful and enjoyable . Burt Lancaster and Tony Curtis were good friends , in fact Burt with his production company : Hecht-Hill-Lancaster hired Curtis in some films , appearing together in "Criss Cross" (1949 ), "Trapeze (1956 ), "Sweet Smell of Success" (1957 ), and "The List of Adrian Messenger (1963 ). Support cast are frankly well , giving stunning acting , such as Katy Jurado , Thomas Gomez , John Pulleo , Minor Watson , Gérard Landry , Jean-Pierre Kérien and Sidney James.

The motion picture was compellingly directed by Carol Reed and it was an international hit , being the third highest grossing film of 1956. Reed once considered to the greatest British director , had his clay feet , mercilessly exposed by the auteurist critics of the 60s . Now stripped fo his old and inflated reputation it is posible to appreciate better his virtues. He has an interesting and long career , as Carol made historical bios: ¨Kipps¨ (1941) with Michael Redgrave and ¨The Young Mr Pitt¨ (1942) with Robert Donat. He did service and war effort fare through World War II, but these were more than flag wavers, for Reed dealt with the psychology of transitioning to military life . His Anglo-American documentary of combat , ¨The True Glory¨ (1945), won the 1946 Oscar for Best Documentary. With that under his belt, Reed was now recognized as Britain's ablest director and could pick and choose his projects. ¨Odd man out¨ (1947) with James Mason as an IRA hit man on the run did just that and was Reed's first real independent effort, and he had gone to Rank to do it . And , of course , his greatest hit was the classic ¨The third man¨with Orson Welles and Joseph Cotten . Rating : 7/10 . Worthwhile watching.

Great curio piece with Burt Lancaster being a former circus performer, the film was something of a big success on its initial release. It's not hard to see why either, because it's a solid enough story backed up by great aerial sequences set to the backdrop of circus life. The love triangle between the three leads (our intrepid trapeze artists) that threatens to envelope them with disastrous consequences, is never less than intriguing, and of course we get led into a breath holding finale that achieves the desired effect.

Sadly for me the acting here lets the film down, Lancaster does "OK" and holds the film together, and I really liked Thomas Gomez as the money orientated Bouglione, but it is here is where the Tony Curtis detractors get their ammunition from. Curtis is very wooden and it's hard to believe this is the same actor from The Defiant Ones & The Boston Strangler. Katy Jurado is reduced to being a bit part player, and as the female lead, Gina Lollobrigida looks gorgeous but delivers her lines in unconvincing fashion.

This is good honest entertainment, with some exuberant set-pieces that raise the pulses, but ultimately it becomes bogged down by some less than memorable acting. 6/10

Burt Lancaster (as Mike Ribble), Tony Curtis (as Tino Orsini) and Gina Lollobrigida (as Lola) form a love triangle under the big top. Mr. Lancaster is the older trapeze artist, who continues to fly high, despite suffering from a chronic injury sustained performing the film's famed "triple somersault". Mr. Curtis is Lancaster's brash young protégée; of course, he wants to perform the dangerous "triple somersault". When Ms. Lollobrigida arrives on the circus scene, things understandably heat up for the tightly costumed trio. "Trapeze" is too cliché-ridden to take very seriously. Still, director Carol Reed and cinematographer Robert Krasker create some lovely, colorful, and atmospheric circus scenes. And the performers, particularly Lollobrigida, are in fine form.

****** Trapeze (5/30/56) Carol Reed ~ Burt Lancaster, Tony Curtis, Gina Lollobrigida

What can we say about the big guy? He did his own stunts and this little film with Tony "Yonder's m'fadda's castle" Curtis [né Schwartz] and the lovely Ms. Lollobrigida, along with vet character actor Tom Gomez, delivers. Lots of fun. Lots of stunts. A reminder of a long gone era when movies had something to say. I remember seeing this one in San Francisco when it first aired. My date that evening was beautiful El Salvadorian who looked (nearly) as gorgeous as Gina. But, the film was so good, I stayed on my best behavior, much to her (and my) surprise. Ah, those were the days and this was a fun film to watch. The scene where Curtis and Lancaster walk home on their hands alone was worth the price of admission-- for both of us.

It's easy to forget what Burt Lancaster looked like in his prime, along with Kirk Douglas and Sean Connery, I don't think there have been any other actors who have such masculine presence. Lancaster makes his co-star; supposed macho man Tony Curtis look an effeminate ladyboy in comparison.

I got sweaty palms just watching Lancaster (the real life ex-acrobat) performing his own stunts on the trapeze. You can't imagine today's cossetted and pampered action heros doing anything as dangerous as this.

Story ? I dont know ? Was there one ? Just like everyone else, I only watched this movie to see Lancaster put his own neck on the line in the said trapeze stunts, and for this alone it is a must see (for me at least).

Burt Lancaster started his career as a circus acrobat, and in "Trapeze" he gets to play a circus acrobat. This was one of a number of circus- themed films released in the fifties and sixties; others include "The Greatest Show on Earth", "The Big Circus" and "The Magnificent Showman". Lancaster plays Mike Ribble, a former "flyer". This does not mean he is a retired pilot; "flyer" is the name by which trapeze artistes refer to themselves. In his youth Ribble, only the sixth man to have performed the triple somersault, was a major star, but retired after being injured in an accident and now works as a rigger at a circus in Paris.

Ribble is tracked down by Tino Orsini, an ambitious, up-and-coming young flyer who believes that he can become the seventh man to achieve the triple and asks Ribble to train him. Ribble, impressed by the young man's potential, agrees, and the two men form an act together, with Ribble acting as Orsini's catcher. Trouble arises, however, when the circus owner wants to add a third member, a young woman named Lola, to their act. Lola is less skilled as a trapeze artiste than either Ribble or Orsini, but she looks good in a skimpy costume so the owner thinks she will be good box-office. When both men fall in love with Lola the resulting tensions threaten to destroy both their act and their friendship.

The film did well at the box office, but was not always popular with the critics; Bosley Crowther of the New York Times, for example, called the story "dismally obvious and monotonous" and said that Gina Lollobrigida as Lola "had only her looks to show". There is perhaps some justice in these criticisms. The love-triangle plot is trite and clichéd, and although that circus manager was undoubtedly right that Lollobrigida does indeed look stunning, she is all too obviously struggling with the difficulties of acting in a language not her own. (This was her first American film).

In other respects, however, the film is a lot better than Crowther thought it was. Carol Reed is perhaps best remembered today for serious black-and-white dramas, especially films noirs like "The Third Man" and "The Man Between", but he shows there that he was also capable of handling more spectacular, crowd-pleasing entertainment. This is not Burt Lancaster's greatest film, but he gives a very competent performance and even performed some of his own stunts. (The studio, however, insisted on a stunt man for the more dangerous ones). There is a good contrast between the ageing Ribble and Tony Curtis's brash newcomer Orsini. The aerial action sequences remain thrilling nearly sixty years after they were filmed. The circus genre may have declined in popularity in recent decades, but "Trapeze" shows well why such films were popular in their heyday. 7/10

There were not many films made about the circus, but this one tops them all by far. Much better than DeMille's melodramatic soap opera which won an Oscar for Demille by default.

Getting back to Trapeze, this film combines a wonderful story with beautiful acting from the stars and supporting cast, and the photography of the aerial stunts will leave you felling as though you attended the circus in person. Lancaster who at one time actually performed in a circus act, gives a towering performance and Curtis and Lollabridgida are terrific as well. This is easily the gorgeous Gina'a best dramatic role, and we see that she was a very much underrated performer in her time.

Thomas Gomez and Katy Jurado are wonderful in support as are all the lesser players. This is a look at the real circus from inside. It's about the longings about real stars and the ways they attempt to achieve and hold on to that elusive stardom.

This film does not contain a dull moment and has a fantastic climax that will keep you glued, and on the edge of your seat as if you were sitting ringside.

It is somewhat a shame that this great film is not well known at this time and of course would never be mentioned on any top 100 or even 1,000 list, but long after Casablanca and Citizen Cane have been relegated to their rightful places in history, this film and many others will be truly recognized for the masterpieces that they are.

Visually-exciting Big Top melodrama from director Carol Reed, here staging some incredible trapeze sequences for an otherwise mundane soap opera concerning crippled ex-trapeze artist who is lured back into the air by a young upstart, only to squabble with him over a sexy lady who wants her share of the spotlight. Fantastic aerial photography gives the viewer a dizzying sense of vertigo, but what goes on after the show is over is strictly a wheeze. Burt Lancaster (himself an ex-circus performer) spearheaded this project, and he has seldom looked more robustly handsome; his moody character (angry and brooding, with a chip on his shoulder) is, however, a drag on the action. Tony Curtis and Gina Lollobrigida fare much better with somewhat warmer roles--Curtis, in particular, gets a grand opportunity here to shine and show off--though this triangle isn't fresh and the plot of "Trapeze" isn't very intriguing. ** from ****