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Cult Review
Senior Film Conservator
If you have a soft spot for old movies that feel like they were filmed in a basement with a lot of dust, then yeah, give Sombras del circo a look. It’s perfect for a rainy Sunday when you don’t want to think too hard but want to see some serious drama.
People who need big explosions or fast editing will probably hate this within five minutes. It’s a slow burner that relies on people looking very upset in tight costumes.
The first thing I noticed was how sad the circus looks. It’s called the Dixon Circus, but it feels like they only have about three employees and a very tired tent.
The lighting is also pretty weird. In some scenes, it's so dark you can barely see Nick’s face, which maybe was on purpose because he’s always sulking.
Greta, Nick, and Tony are the trapeze stars, but they don't seem to be having any fun. You’d think flying through the air would be exciting, but they look like they’re waiting for a bus half the time.
Nick is the main problem here. He’s played by an actor who really knows how to use his eyebrows to show he’s mad.
He is completely obsessed with Greta. Every time Greta talks to Tony, Nick stands in the background looking like he’s about to explode.
It’s actually a bit funny after a while. You start looking for Nick in the corner of every shot, just waiting for him to pout again.
Greta, played by Antonia Arévalo, is fine, but she doesn't seem to notice that Nick is losing his mind. Or maybe she just doesn't care, which I kind of respect.
The trapeze scenes are where the movie gets actually interesting. Not because the stunts are amazing, but because the equipment looks so flimsy.
Every time they grab a bar, I was worried the whole set was going to fall over. It adds a layer of real fear that I don’t think the director even intended.
There is this one moment where Tony reaches out for Greta’s hand and the camera stays on them for a second too long. It feels like the movie is trying to tell us something deep, but it mostly just feels like they forgot to yell 'cut'.
I couldn't help but compare this to The Dark Star while watching. Both movies have that same kind of heavy, slightly depressing atmosphere where nobody seems to be having a good day.
It’s also got that same sort of "stagy" feeling you find in Annapolis. Like the actors are very aware of where the floor markings are.
I did like Miguel Ligero in this, though. He brings a little bit of life to the background whenever things get too heavy with the main trio.
The script was handled by Henry Leyford Gates and George Abbott. You can tell they liked the idea of a jealous lover more than they liked the idea of a circus.
The dialogue is pretty simple. There aren't any big speeches about the human condition, which is a relief, honestly.
Sometimes the acting feels a bit woodden, especially when Nick is trying to be intimidating. He mostly just looks like he has a headache.
I noticed a small detail in the dressing room scene. There’s a mirror that is clearly just a piece of tin or something, and the reflection is all warped.
It’s those little low-budget things that make me like these old films. It feels more human and less like a product made by a giant machine.
The movie doesn't really go anywhere you don't expect it to. The ending is pretty much written on the wall from the second Nick starts scowling.
But the journey is okay. It’s short enough that it doesn't overstay its welcome, unlike Noisy Neighbors, which felt like it went on for a decade.
I’ll probably forget most of the plot by next week, but I’ll remember the way the circus tent looked like it was held together by hope and string. 🎪
If you like seeing how movies used to handle simple stories without any bells and whistles, give it a go. Just don't expect to be blown away by the circus acts.
It’s a decent little film. Not a masterpiece, but it has a certain charm that you don't get anymore. It feels like someone's actual notes on a bad day at work, but the work is the circus.
IMDb 7
1923
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