What is the b&w movie takes place in a circus with a girl and two boys horse vaulting?

Question

Boy 1 & Girl have a thing going on. They have horse vaulting act. Boy 2 joins circus. Starts to get in with Girl. Boy 1 tries to show off by doing tricks without his safety harness on. Falls. Hurts himself badly. Boy 2 now has to take his place.

Answer 1

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Answer 2

Circus Boy Movie

Answer 3

Hmmm, the only movie that comes to my mind is Toby Tyler, or Ten Weeks With A Circus, but I can't remember if there were 2 boys and a girl that had a horse vaulting act or not.

Answer 4

If you want to see a movie about a boy who runs away to join the circus and becomes a girl, here it is.



James Otis Kaler was an extremely prolific author of boys' novels, all of which have vanished into obscurity except one: 'Toby Tyler', the tale of an abused boy who runs away and joins the circus. 'Circus Days', intended as a star vehicle for child actor Jackie Coogan, is based on that novel ... yet radically alters the material. (Which may explain why the film studio did not use the title of the original novel -- still hugely popular in 1923 -- for this movie.) In 1960, 'Toby Tyler' was remade by Walt Disney ... and again, the film radically deviated from the novel. But these two film versions deviate from the novel in very different directions.



SLIGHT SPOILERS. Young Toby (Coogan) is constantly beaten, whipped and overworked by Eben Holt, his mother's sister's husband. When Toby accidentally breaks Holt's chinaware, he is terrified that he'll receive another flogging. He runs away, and lands up with a convenient circus in which he gets a job as a concessionaire, selling lemonade and other snacks.



The original novel got a whole chapter out of Toby's ordeal when one of his customers slips him a bad nickel. In the Disney movie, that incident is reduced to one line of dialogue. 'Circus Days' substitutes a very implausible sequence in which Toby accidentally fills lemonade glasses with petrol, and sells this to customers ... who don't notice the switch until they drink it. Surely the colour and the fumes would tip them off? A kindly circus clown (Cesare Gravina: a good performance in a badly-written role) uses his own savings to help Toby get out of trouble. Yes, circus performers always have lots of money saved up. The movie gets even less plausible (and more offensive) when Toby gets locked in the lion's cage. The beast lumbers towards him on all fours ... and turns out to be an African-American man wearing a lion's skin and head (with 'yassuh' dialogue in the intertitles). Turns out that the lion died, so they offered the job to Old Black Joe.



The bareback rider in the circus is pretty Jeannette, a girl about Toby's age (played by an actress rather older). Toby's carelessness causes an accident in which Jeannette sprains her ankle, and she can't perform. No problem: the circus crew dress up Toby as a girl, and they train him to do Jeannette's riding act. (With some very obvious stunt doubling.) There's a very sick-making moment here when Luigi the clown kisses Toby. It's bad enough that a man is kissing a boy, but the boy is dressed as a girl and the man is costumed as a clown. I couldn't help thinking of a certain gay serial killer who wore a clown costume. Ugh!



In the original novel, Toby Tyler did indeed become a bareback rider ... a *male* equestrian, under the name Monsieur Ajax. The Disney film applied that name to a character not present in the novel: a boy equestrian who was Toby's rival. The female impersonation angle was devised for this Jackie Coogan movie, and is blessedly absent from the novel and Disney's remake.

Answer 5

IMDb user comments for

"The Adventures of Spin and Marty" (1955) More at IMDbPro »



12 out of 13 people found the following comment useful :-

gee, it's swell!, 28 October 1999

Author: Goon-2 from WA



I grew up on "The Mickey Mouse Club" repeats as a child, yet I have absolutely no recollection of watching this corny, but entertaining "serial" that played within them, and have only now "discovered" it through watching reruns again.



Listed as a "western,"which is a genre I don't usually like, this is actually a sort of charming little show about two friends who meet at a western-themed summer camp named, surprise surprise, Spin Evans(who would name their child SPIN?!), a fun-loving country boy and Marty Markham, a spoiled rich kid who takes his butler to camp with him and demands of everybody. At first Spin and Marty are enemies(very entertaining), but slowly their hatred dwindles and soon they are the best of pals, getting into lots of adventures at their camp with Mr. Perkins(Marty's butler), the camp counselor and their other friends Ambitious(ugh), Moochie(Kevin Corcoron, of just about every Disney project at the time) and gettting some girl friends like Annette and Darlene(the Mousketeers, who act...just like they do in the Mickey Mouse club.) The plots are usually simple(Moochie gets lost in the desert, Spin and Marty enter horse races, etc), but it is in a nice and relaxing way, and the acting, by Tim Considine(later to go onto "My Three Sons") and David Stollery is actually pretty good, considering. It's one of those dated little shows that would never sell with the wild, Pokemon obsessed kids of today, but it's kind of fun to watch and look back upon the olden days, when all entertainment was that simple and relaxed and "feel good." This is certainly a fun and feel good show alright. Swell.

Answer 6

Target girl is a term sometimes used in circus and vaudeville to denote a female assistant in "impalement" acts such as knife throwing, archery or sharpshooting. The assistant stands in front of a target board or is strapped to a moving board and the impalement artist throws knives or shoots projectiles so as to hit the board but miss the assistant. The image or character of the target girl has also permeated beyond the impalement arts and become an icon in fiction and visual media.



Although some assistants are male there is no common equivalent term for a male assistant. This reflects the fact that, historically at least, female assistants have predominated in the acts in question.[1] The presence of an assistant as a human target provides a powerful element of risk. Without assistants placing themselves in danger these acts would be simple demonstrations of accuracy, but with the potential for injury or death the show is much more dramatic. Target girls often wear revealing costumes, thus adding an element of overt sexuality to an act. In this respect there is some similarity to magicians' assistants, although there is a distinct difference in that any apparent danger to an assistant in a magic act is mostly an illusion, whereas impalement acts are demonstrations of accuracy, nerve and calculated risk and the danger is real.[2] While some observers have perceived target girls as masochistic or passive and some feminists criticise the concept as misogynist, several target girls have given accounts of themselves as assertive women and portrayed their experiences as empowering (see Target girls as authors).



Various theories have been put forward to explain the enduring appeal of the target girl. These range from simple awe at the display of steely nerves and complete trust to more complex psychological and philosophical theories. While some point to overtones of sadomasochistic eroticism, others cite dramaturgical works and point to parallels with the story arc of the hero in classic drama.[3] In particular the assistant's performance is said to mirror the plot device of the hero's ordeal, in which the hero proves his or her heroic qualities through self-sacrifice or by facing extreme peril.[4] Jim Steinmeyer, a noted illusion designer who has written well-regarded books on the history of magic, has identified a fashion for female peril as entertainment in the post-First World War period. Steinmeyer has written that P. T. Selbit's stage debut of the Sawing Through A Woman illusion in 1921 marked the beginning of a trend for women as the victims of choice for acts simulating danger or torture. While Steinmeyer focuses on stage magic and attributes some of the trend to practical factors, he also points to a broader pattern in entertainment generally, which he links to social trends. He concludes that: "...beyond practical concerns, the image of the woman in peril became a specific fashion in entertainment".[5] A further view on historical trends is provided by performer and blogger Ula the Painproof Rubbergirl, who has acted as a target girl for New York-based knife thrower The Great Throwdini. In an extensive article on her experiences and philosophical approach to the art she notes: "Knife throwing is an old act. So is high wire. And rodeo. And stone throwing, witch burning, beheading, Roman gladiators, jousting, dog fights,you name it - we, humans, love it. And we love a vulnerable woman. Isn't there something oddly attractive about the woman in danger? I remember seeing lots of soundless black and white movies with a girl tied to the railroad tracks or a girl tied to a sawmill by some evil perverted landlord.

Answer 7

Target girl is a term sometimes used in circus and vaudeville to denote a female assistant in "impalement" acts such as knife throwing, archery or sharpshooting. The assistant stands in front of a target board or is strapped to a moving board and the impalement artist throws knives or shoots projectiles so as to hit the board but miss the assistant. The image or character of the target girl has also permeated beyond the impalement arts and become an icon in fiction and visual media.



Although some assistants are male there is no common equivalent term for a male assistant. This reflects the fact that, historically at least, female assistants have predominated in the acts in question.[1] The presence of an assistant as a human target provides a powerful element of risk. Without assistants placing themselves in danger these acts would be simple demonstrations of accuracy, but with the potential for injury or death the show is much more dramatic. Target girls often wear revealing costumes, thus adding an element of overt sexuality to an act. In this respect there is some similarity to magicians' assistants, although there is a distinct difference in that any apparent danger to an assistant in a magic act is mostly an illusion, whereas impalement acts are demonstrations of accuracy, nerve and calculated risk and the danger is real.[2] While some observers have perceived target girls as masochistic or passive and some feminists criticise the concept as misogynist, several target girls have given accounts of themselves as assertive women and portrayed their experiences as empowering (see Target girls as authors).



Various theories have been put forward to explain the enduring appeal of the target girl. These range from simple awe at the display of steely nerves and complete trust to more complex psychological and philosophical theories. While some point to overtones of sadomasochistic eroticism, others cite dramaturgical works and point to parallels with the story arc of the hero in classic drama.[3] In particular the assistant's performance is said to mirror the plot device of the hero's ordeal, in which the hero proves his or her heroic qualities through self-sacrifice or by facing extreme peril.[4] Jim Steinmeyer, a noted illusion designer who has written well-regarded books on the history of magic, has identified a fashion for female peril as entertainment in the post-First World War period. Steinmeyer has written that P. T. Selbit's stage debut of the Sawing Through A Woman illusion in 1921 marked the beginning of a trend for women as the victims of choice for acts simulating danger or torture. While Steinmeyer focuses on stage magic and attributes some of the trend to practical factors, he also points to a broader pattern in entertainment generally, which he links to social trends. He concludes that: "...beyond practical concerns, the image of the woman in peril became a specific fashion in entertainment".[5] A further view on historical trends is provided by performer and blogger Ula the Painproof Rubbergirl, who has acted as a target girl for New York-based knife thrower The Great Throwdini. In an extensive article on her experiences and philosophical approach to the art she notes: "Knife throwing is an old act. So is high wire. And rodeo. And stone throwing, witch burning, beheading, Roman gladiators, jousting, dog fights,you name it - we, humans, love it. And we love a vulnerable woman. Isn't there something oddly attractive about the woman in danger? I remember seeing lots of soundless black and white movies with a girl tied to the railroad tracks or a girl tied to a sawmill by some evil perverted landlord.

Answer 8

yes, it could be