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THE GREATEST SHOWMAN (2017) MOVIE NEWS & REVIEW

the greatest showman (2017) movie

Genre | Musical Drama

Classification | PG

Running time | 105 minutes

Released | 26 December 2017

cast

Hugh Jackman ... P.T. Barnum
Michelle Williams ... Charity Barnum
Zac Efron ... Phillip Carlyle
Rebecca Ferguson ... Jenny Lind
Zendaya ... Anne Wheeler
Keala Settle ... Lettie Lutz

director

Michael Gracey

writer

Jenny Bicks ... (screenplay by) and
Bill Condon ... (screenplay by)

Jenny Bicks ... (story by)

cinematographer

Seamus McGarvey

music

John Debney ... (score by)
Benj Pasek ... (songs by)
Justin Paul ... (songs by)
Joseph Trapanese ... (score by)

film editor

Tom Cross
Robert Duffy
Joe Hutshing
Michael McCusker
Jon Poll
Spencer Susser

box office result

Worldwide $321,469,459

Australia $21,842,155

North America $150,708,356

the best dialogue

Phillip Carlyle: I can't just run off and join the circus.
P.T. Barnum: Why not? You clearly have a flair for show business.

P.T. Barnum: No one ever made a difference by being like everyone else.

P.T. Barnum: Hyperbole isn't the worst crime. men suffer more from imagining too little than too much.

things to spend money on ...

buy this movie for just $8.99 + free shipping within australia on ebay

THE GREATEST SHOWMAN (2017) IMAGES

THE GREATEST SHOWMAN (2017) STORY SYNOPSIS

Inspired by the imagination of P.T. Barnum, The Greatest Showman is an original musical that celebrates the birth of show business & tells of a visionary who rose from nothing to create a spectacle that became a worldwide sensation.

THE GREATEST SHOWMAN (2017) MOVIE REVIEW

Reviewed by Mark Geraghty | Review date 26 December 2017
Pop Movee Rating ⭐⭐⭐⭐

The life and times of P.T. Barnum are fertile ground for a dramatic musical and first-time feature film Director, Michael Gracey hits the mark in all departments. Much like Barnum did himself, THE GREATEST SHOWMAN takes substantial liberties with the Showman’s life and times, moulding the facts to fit the most entertaining narrative. Significant events in his life are shown out of order, others are magnified for the sake of “the show” and the presence of Hugh Jackman in the central role may, indeed, be the highest compliment Barnum himself has ever received! Given Barnum’s own predilection for such distraction, THE GREATEST SHOWMAN is most certainly a success. The viewer is diverted by the power of its music and images, never really stopping to consider whether Barnum was a master manipulator, the world’s first “Mad Man” or just a very driven man whose interest in life’s eccentricities were fertile ground to make a buck. Wherever the truth lies, and the movie is not always clear about this, THE GREATEST SHOWMAN is a genuine toe-tapping musical, featuring contemporary songs that bring the viewer into the this fictionalized version of Barnum’s world view.

In terms of story, THE GREATEST SHOWMAN is a straightforward affair, told through a series sequences that serve as “defining moments” throughout Barnum’s life. Each moment results in a set-piece song that underlines the significance, either consciously or unconsciously, to Barnum; the story then continuing on its way, building once more toward another musical number. THE GREATEST SHOWMAN doesn’t lack for songs and the LA LA LAND combination of Benj Pasek and Justin Paul deliver some great numbers, transcending the film’s mid-19th Century setting, providing the viewer with music and lyrics that feel contemporary and inclusive of a broad range of musical tastes. The movie’s opening scene sets the tone for the entire film with Hugh Jackman’s earnest rendition of “The Greatest Show”. Barnum’s struggle to bring his life into focus, and make something of himself, is reflected in the the songs “A Millions Dreams” and “Come Alive”. The second track also features Keala Settle, who plays the Bearded Lady Lettie Lutz. Of all the Barnum ensemble, it is Lettie who has the most to do and her struggle for acceptance within the wider community is reflected through Settle’s powerful vocals.

As Barnum’s quest for success continues, he solicits Zac Efron’s Upper Class Playwright Phillip Carlyle. A part of New York’s elite, Carlyle is bored and wants something more from life but fears an association with Barnum will lead to his social ex-communication; however, the Showman convinces him that “The Other Side” is well worth a look and he may just like what he finds. Jackman’s performance lifts considerably every time Efron appears in a scene with him and it’s clear they “clicked” on this film, especially when they get to combine their song & dance skills. Efron and Zendaya, as high wire performer Anne Wheeler, also make a great team. In tandem with the reaction Barnum’s troupe of oddities receive from various elements of New York society (the Upper Class and the social fundamentalists), the burgeoning romance between Efron and Zendaya’s characters illustrate that, even in the 21st century, America is still grappling with their troubled history of race relations, especially interracial romances. Barnum’s own fight for acceptance among New York’s elite helps to reinforce that THE GREATEST SHOWMAN is not just a feel good musical. It has something to say about the manner in which people treat each other based purely on how someone looks.

Jenny Lind was an important part of Barnum’s financial success and his quest to be recognized as a legitimate purveyor of accepted entertainment, but THE GREATEST SHOWMAN suggests there was something more to their relationship. The exploration of Lind and Barnum’s relationship is a curious one; it is also the point at which THE GREATEST SHOWMAN falters. Writers Jenny Bicks and Bill Condon aren’t certain to paint Barnum as an absolute cad or a ruthless businessman seeking to capitalize on Lind’s talent. Rebecca Ferguson plays the Swedish songstress with a degree of vulnerability that seeks to invite, at bare minimum, a deep, emotional connection with Barnum. Jackman is less sure and he plays Barnum as if he is more enthralled with her talent than the woman herself. As the relationship reaches a critical point, Barnum comes off looking like a complete douche. This character turn feels like something of a cheat, as the prior 70 minutes has been spent establishing him as a man, albeit an eccentric one, who has empathy for those who have been dealt a lesser hand in life. Lind’s signature piece “Never Enough”, performed beautifully by Loren Allred, is an outstanding song, but it feels out of place in the context of the tone established by the rest of Pasek and Paul’s musical contributions and the Lind-Barnum subplot seems as if it was contrived for no other reason than to feature this magnificent, but out-of-place number.

It has come to light that Jackman’s Wolverine collaborator, James Mangold, was brought in by 20th Century Fox to assist with post-production and a number of reshoots on the film. Based on the final product, it feels like Mangold’s contribution was to help fill out the non-musical, dramatic elements of THE GREATEST SHOWMAN. There are certain scenes, which have next-to-no singing, that sit on either side of large musical set-pieces and don’t necessarily add anything other than drama for the sake of drama. In spite of this, the film’s tone remains consistent for the most part and, fortunately, the film doesn’t fall foul of the fate that has beset other recent “reshoot” laden projects such as JUSTICE LEAGUE. Director Michael Gracey has delivered a wonderfully entertaining tale, featuring great music, a number of outstanding vocal performances, especially from Keala Settle and Loren Allred, and a story that makes a genuine effort to stand for something. At the heart of all of this is Hugh Jackman. He’s not the greatest actor of his generation... He hasn’t got the best voice going around... He’s an okay dancer... What he has got is courage and heart. Of all the entertainers going around in this day and age, he’s the least afraid to make himself look silly as he strives for authenticity in his performances. It seems there’s a reason why such a vast number of people who have worked with him, in an industry that is full of ego maniacs, speak so highly of him. He’s a guy who’s making the most of his talent and he’s found success based on his effort and not at somebody else’s expense. There’s a certain irony in that, given the character he plays, but it’s by far the best reason to see THE GREATEST SHOWMAN!