The Last Circus (2011)
by Steve Habrat
If you are one of the individuals out there who suffers from coulrophobia, a crippling fear of clowns, you should stay far away from Álex de la Iglesia’s hectic foreign art house flick The Last Circus, a bloody allegory that is a visual fiesta and resembles something from the minds of Quentin Tarantino or Robert Rodriguez. For all its visual gifts, The Last Circus falls apart slowly and by the end, is a giant lumbering mess of a film. The load grows heavy with too many characters serving no purpose but to fill up a frame and populate the circus that is the main setting. The Last Circus does succeed as a bizarre genre mash-up, at one moment it’s a horror film, the next second it’s a dark comedy, the next moment it’s a romance film, and the next it’s a perverse action film. Experiments like this don’t always work (Take a look at the western/science fiction action dud Cowboys & Aliens for obvious proof) but The Last Circus balances it quite nicely. Good thing since this film is already walking a swaying tightrope.
The Last Circus packs as much content as it can into its hour and fifty minute runtime. It saddened me to find that there are quite a few slow spots in what promised early on to be a nonstop rush. Beginning in 1937 and using the Spanish Civil War as the backdrop, a guttural militia group drops in to a local theater where a sad clown and happy clown are performing for a cheering group of children. Just outside, bombs fall and shake dust from the ceiling onto the clowns. The militia leader is looking for any help they can find and they need every able bodied man to join their ranks. The happy clown is forced into service, handed a machete, let loose on the National soldiers, and in a frenzied attack, the happy clown lays waste to an entire platoon. He is soon captured and placed in a military jail, forced into labor and waiting out a death sentence. His young son vows to free his father and almost succeeds. The film then fast-forwards to 1973, where the son, Javier (Played by Carlos Areces) has now grown up and gotten a job working as a sad clown for a local circus. He is paired up with the happy clown Sergio (Played by Antonio de la Torre), who is married to the striking and beguiling acrobat Natalia (Played by Carolina Bang, who wears multiple wigs throughout the runtime). Javier falls in love with Natalia, who appears to share the same feelings. Sergio is abusive and unwilling to let Natalia out of his site, as he suspects she is cheating on him with another man. Javier and Sergio soon clash with each other for her affection, a clash that escalates into a violent stand-off between the two men. Murder, savage beatings, self-mutilation, graphic sex, and sinister figures from the past all emerge as the two fight to the death for Natalia.
While the only way to describe The Last Circus is a truly bizarre work of art, the film seems unsure what to do with everything crammed into it. Characters get lost in the shuffle or are unrecognizable due to ever changing physical appearances, the ending is too CGI heavy, and the constant grotesqueries mar what could be a thought-provoking event. I’m sure the film is more rewarding for the Spanish audiences, who are the ones who will be able to piece this allegory together. The film also has some cool use of stock footage that was incorporated smoothly throughout the journey. Yet I found glaring problems with the storyline, mostly in the sudden mental collapse that Javier undergoes. Why has he suddenly just snapped? Was he that close to the breaking point? The film never gives a clear-cut answer to this question. The only hint we get is the constant harassment from Sergio. Even this explanation I do not buy, mostly because Sergio isn’t that terrible to Javier in the first place.
The performances in The Last Circus are all quite good; the best is easily de la Torre’s Sergio, who looks like Heath Ledger’s alcoholic stunt double from The Dark Knight. He endures a beating so brutal, it’s amazing he isn’t dead. He looms in the shadows watching Natalia, all of these scenes resembling images out of a comic book. Areces does a fine job when he’s completely lost his marbles but he is astonishingly uninteresting as the sane Javier. When he is randomly firing his machine guns in a small diner, you’ll find yourself developing coulrophobia with each bullet fired. Bang’s Natalia is all deceitful smiles and suggestive lip licking, cleaning blood from her oozing nose. She’s masochistic and does more flip-flops than I ever thought possible. At one second she is shrieking at Sergio’s mutilated mug and the next second she can’t get enough of him. I am still trying to figure out if she was sincere in her interactions with Javier.
I would recommend The Last Circus for it’s Baroque settings and macabre make-up effects. Someone get this crew to the set of J. Edgar and fast! The action is disorienting in the first ten minutes of the movie and then it maneuvers into tedium by the final fistfight. A figure from the past is wasted and would have been a far more lasting villain than Sergio. But for all the smarts this film has, and trust me, it is very clever, it consistently looses site of what it is trying to achieve. At times it felt rather preoccupied and more concerned with its visual stimulants. Sure, I like a film to look pretty and have some nifty sets, boast a crisp picture, and have an aura of impulsiveness, but The Last Circus left me unaffected, the furthest thing from traumatized, dismayed, or charged up politically. I turned it off thinking about how pretty it looked in HD and how disturbing clowns really are.
The Last Circus is now available on Blu-ray and DVD.
Posted on December 10, 2011, in REViEW and tagged 1937, 1973, 2011, action, alex de la iglesia, antonio de la torre, art house cinema, carlos areces, carolina bang, coulrophobia, cowboys & aliends, foreign cinema, heath ledger, horror, j. edgar, quentin tarantino, robert rodriguez, spanish civil war, the dark knight. Bookmark the permalink. Leave a comment.
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