The Greatest Showman is a musical biopic of Phineas T. Barnum, telling the story of his life from the son of a penniless tailor to becoming the founder of one of the most famous circuses in the world.
Hugh Jackman gives a charismatic and likeable performance as Barnum. He's a chancer, a huckster with a silver tongue, who can talk the talk- but also back it up. They way he talks people round to his way of thinking is impressive. A man desperate for the approval and acceptance he never had before, there's an interesting contradiction lying at Barnum's core which the film doesn't always explore well enough (which is down to the script). Another interesting part is his willingness to exploit the 'otherness' of his charges; when he recruits Tom Thumb, the young man accuses Barnum of wanting to get people to laugh at him. Barnum's response: 'they're laughing anyway, kid, so you might as well get paid'. Whilst this may be true, it comes across as a little callous. But even with this, with a winning smile and a twinkle in his eye, Jackman is never less than magnetic in the lead role.
Michelle Williams is underused as Barnum's devoted and incredibly patient wife Charity, but she's good when she's given something to do. Zac Efron gets a strong arc as playwright Phillip Carlyle (a composite character of several people in Barnum's life, including business partner James Bailey), a man of privilege and wealth who goes against convention by running off to join the circus. He has his head turned by trapeze artist Anne Wheeler, but issues of status and race (Anne is mixed-race, whilst Philip is white) mean the path of true love doesn't run that smoothly. Zendaya plays Anne with a spark of intensity which is great to see.
There's a nice supporting turn from Rebecca Ferguson as Swedish opera singer Jenny Lind, who provides Barnum with a shot at legitimacy in society, but who proves to be more complicated than first expected. Keala Settle provides heart and poignancy as bearded lady Lettie, who Barnum finds working in a laundry and eventually puts on stage. Finally, Paul Sparks gives a nice edge of antagonism to his role as newspaper critic James Gordon Bennett, who clashes with Barnum on several occasions; Bennett sees Barnum's show as nothing more than low entertainment, even using the phrase 'circus' to describe it (which Barnum leaps on and appropriates).
This is Michael Gracey's feature film directorial debut and he shows some real artistic flair. The production design of the film is really good and there are some really nice visual flourishes and some really good choreography, such as in 'The Other Side', the bar-room duet between Barnum and Phillip where Barnum tries to get him to come on board (where shots are poured and drank in between dancing on the bar). Jenny Bicks' and Bill Condon's script is perhaps the weakest part of the entire endeavour. It follows the usual rags-to-riches biopic formula but, crucially, even if events really did unfold as they do in the film, the story feels contrived: there's an unexpected romantic subplot which comes as Barnum grows further away from his family; there's the expected moment where he loses everything but that's not the end of the world. It feels very standard, by-the-numbers, which is a shame.
The songs are written by Benj Pasek and Justin Paul, who wrote the songs for La La Land. Just as in that film, the songs range from the perfectly serviceable to the instantly forgettable, along with a couple of absolute stormers, such as Phillip and Anna's highwire love duet 'Rewrite The Stars' and- the song which has got the most attention from the film- 'This Is Me', which is destined to become a modern classic. A defiant, poignant, powerful statement of intent delivered with gusto and vulnerability by Keala Settle, I found myself unexpectedly moved by the performance and wanting to stand and applaud at the end of the number.
All said, this was a light, fun way to spend a Sunday afternoon. It's pure popcorn fodder and a lovely way to while away a few hours.
Rating: 3.5 out of 5
Tez
