The music perfectly complements the visuals, ranging from a metronomic anticipation as big tops are raised and clowns don their make-up through to trance-inducing beats overlaid over boisterous dancers. The accompaniment is used both as emphasis and subversion, however. At one point, the rhythms of their drums build tension during a sequence of death-defying acts only for the action to segue into images of voluptuous, scantily clad women being paraded like glamour models. Where the music would perhaps be expected to shift, it does not, denying the audience the release of pressure that such images might otherwise suggest as a nylon stocking is cast into the crowd.
Juxtapositions and transitions are the key elements of a documentary of this nature, acting alongside the music to provide context in lieu of voiceover. Erlingsson and editor Davíð Alexander Corno employ them with precision, leaping throughout time from one gymnast to another in a match-cut. Equally, they can shift from the pulsating spectacle of a human risking their life in the ring with a dangerous animal, to the reality of a broken creature lashing out at a trainer in fear and desperation. The memory of the director's empathetic examination of the relationship between people and horses in his first film only colours this element of the work with added depth. Still, while there is condemnation, there is also a pervading nostalgia that culminates in a sequence of eyes glued to the stage in admiration, anxiety and awe.
The lack of dialogue allows the viewer to be fully enveloped by what they are seeing and hearing and while at times this may become repetitive or want for a clear trajectory, it then produces a hypnotic scene in which two clowns fight in exploding clouds of coloured powder. The sight of two children boxing is alarming, but the horror of a child crying after being hit is punctuated by two others having a whale of a time. The Show of Shows draws important attention to the failings of circuses and their ilk when judged with modern sensibilities but equally underlines the beautiful joy of being allowed to marvel.
Ben Nicholson | @BRNicholson