Circus Rookies Review: A Man in a Gorilla Suit and a Runaway Train

If you’re looking for a lost masterpiece of the silent era, keep walking. Circus Rookies isn't that. It’s a movie for people who find the sight of a very obvious man in a moth-eaten gorilla suit inherently funny. If you need logic or 'grounded' performances, you’re going to hate this. But if you like the specific brand of 'big guy/little guy' friction that Karl Dane and George K. Arthur specialized in back in the late 20s, it’s a decent way to spend an hour.

The whole thing feels like it was filmed in a bit of a rush. George K. Arthur plays Francis Byrd, and he has this twitchy, nervous energy that feels a bit much sometimes. He’s trying so hard to be the lovable underdog that it occasionally becomes exhausting to watch. His rival, Oscar (played by Karl Dane), is much better just because he’s so physically imposing. There’s a scene early on where they’re standing next to each other, and the height difference alone is the funniest thing in the first twenty minutes. Dane has this way of sneering that makes you feel like he actually dislikes Arthur, which gives their scenes a bit of actual heat.

Then there’s Bimbo. Bimbo is the 'man-eating gorilla.' Let’s be real: the suit is terrible. It has this weird, stiff gait that makes it look less like a beast and more like a guy who’s trying to walk home after his legs fell asleep. But there is something genuinely charming about how much the movie commits to the bit. There’s a moment where Bimbo is supposed to be rampaging through the circus train, and you can see the actor inside the suit clearly struggling with the props. It’s more suspenseful wondering if the stuntman will trip over the rug than if the characters will get eaten.

The middle of the movie drags. It’s a lot of 'sabotage' scenes where Oscar makes Francis look like a coward in front of La Belle. Louise Lorraine plays La Belle, and she’s fine, but the movie doesn't give her anything to do besides look pretty and act scared. She has this one reaction shot when the gorilla first appears where she looks more confused by the costume than terrified of the animal. It’s one of those moments where the acting doesn't quite match the supposed stakes of the scene. It’s not as polished as something like A Woman of the World, which had a bit more wit in its character dynamics.

I found myself looking at the background more than the leads during the circus camp scenes. There’s an elephant named Minnie in the credits, and honestly, she’s the most professional-looking person on screen. She’s just standing there in the back of several shots, swaying slightly, looking like she’s seen a hundred movie crews come and go. There’s also a weirdly empty feeling to the 'crowd' scenes. It feels like they only had enough money for about twelve extras, so the 'grand circus' feels more like a backyard barbecue that got out of hand.

The movie gets noticeably better once it stops trying to do character comedy and just leans into the chaos of the train sequence. Silent comedies loved a runaway train. It’s a trope for a reason. Once the engineer gets chased off the engine and the train starts picking up speed, the pacing finally finds its rhythm. The editing gets tighter, and the physical stunts—while not quite on the level of Buster Keaton—are genuinely impressive. There’s a shot of Francis trying to stop the train that feels surprisingly dangerous. You can see the dust kicking up and the train actually rattling on the tracks. It doesn't look like a set; it looks like a heavy piece of machinery that could actually kill someone.

Some of the intertitles are a bit clunky. They try to force these puns that don't always land, and they interrupt the flow of the physical comedy. I found myself wishing they’d just let the actors’ faces do the work. Karl Dane is particularly good at 'the slow burn' reaction, but the movie keeps cutting away to a title card to explain the joke we already understood from his expression.

It’s also worth mentioning the tonal shift at the end. It goes from this very light, almost silly rivalry to a 'certain doom' scenario on the tracks. It’s a bit jarring. One minute they’re playing pranks with a fake gorilla, and the next, everyone is screaming for their lives. It works, mostly because the train footage is so kinetic, but it feels like two different movies stitched together. If you’ve seen Sherlock Holmes from a few years earlier, you know how these silent films could sometimes struggle to balance the 'action' with the 'plot.'

Is it a great movie? No. But the train sequence alone makes it worth a look if you’re into the history of stunts. It’s a messy, loud (well, visually loud), and slightly awkward comedy that feels very much like a product of its time. It’s the kind of thing you’d watch on a Sunday afternoon when you don't want to think too hard. Just don't expect the gorilla to look like anything other than a guy in a carpet.