The Clown (1953 film)
The Clown is a 1953 American drama film starring Red Skelton with Jane Greer and Tim Considine, and directed by Robert Z. Leonard.Hoagley, another colleague of Goldie's, offers Dodo a one-night engagement at a sales convention at the Ritz, and father and son talk enthusiastically of a new life.After several acts, Dodo gets dizzy but insists on finishing with a “topsy turvy” sketch where a drunk wakes to find the room turned on its side, thanks to his wife and a helpful carpenter.The Ziegfeld Follies flashback is a 6-minute ballet class number taken from MGM's Bathing Beauty, the 1944 film starring Red Skelton, with Esther Williams and Basil Rathbone.Frank Nelson, who plays the comic, Charlie, was a staple radio voice on Jack Benny's show, among others, and became familiar to television audiences in memorable roles that included appearances on every season of I Love Lucy.The New York Times critic A. W. found much to like in the film and praised Skelton's performance: “It has been more than twenty years since Metro released its slightly saccharine but sturdy "The Champ," …so a new generation should not feel especially cheated to have the story refurbished for the atomic age... credit is due Martin Rackin and Leonard Praskins for their adaptation of the Frances Marion story, since it manages to avoid unnecessary bathos and to Director Robert Z. Leonard's handling of his principals…While the mixture of tears and a small measure of laughs is as before it is not too cloying a compound.Since Red Skelton is no stranger to clowning and greasepaint it is pleasant to report that he takes to the role—a characterization only slightly related to the slapstick assignments which have been his lot—like an aspiring "Hamlet."Tim Considine is properly wistful, serious and manly as his adoring youngster, and Jane Greer as his ex-wife; Loring Smith as his understanding agent and Lou Lubin as a 10 percenter handling sleazy entertainment, add adequate supporting portrayals.As Variety noted, ‘The presentation is given a sincerity in performances, writing and direction that keeps the sentiment from dipping too far into the maudlin, and while the story has an old-fashioned feel, it is fundamentally okay drama that takes nicely to the updating.’ Aside from Skelton and Considine, the reviewer also has kudos for Jane Greer, who '...is exceptionally good as the ex-wife, giving the role a warmth that makes it believable.'