It takes a great mind to write a musical. But it takes a great cast to make one work. Last year saw the long-awaited revival of the classic feel-good musical in Damien Chazelle’s hit ‘La La Land’. For its astounding success in last year’s Award Season and the high acclaim it enjoyed among critics and audiences alike, it seems that we are being treated annually to a crowd-pleasing musical boasting Hollywood’s biggest names. Interestingly, ‘The Greatest Showman’ began its ambitious struggle to the screen all the way back in 2009, where Hugh Jackman was the first name confirmed in the widespread search for a multi-talented cast ensemble. According to Jackman, the production’s biggest obstacle in getting made was finding a studio willing to finance an ambitious original musical in an oversaturated market. The release of ‘The Greatest Showman’ not only coincides with providing a festive treat on a winter evening out at the movies, but also resonates, quite seamlessly, with topical issues of acceptance and diversity. The film works as an insight into an iconic historical figure without lapsing into heavy biopic territory, and also as an inspiring ‘rags to riches’ tale of a visionary who rose from nothing to becoming the father of show business.
Having married his childhood sweetheart, penniless dreamer P.T. Barnum (played by Hugh Jackman) dreams of more exciting horizons beyond his robotic employment as a bank clerk. Driven by burning desire to create a spectacle worth seeing by mass audiences, Barnum blags his way into a bank loan to fund his unorthodox business idea of a waxworks museum. When no one comes to see his eerie stuffed animal display, Barnum looks to create something ‘alive’, where he searches for oppressed ‘freaks’ to perform in his later-named ‘circus’. Initially the public slur and jeer, but tickets sell fast and Barnum looks to establish himself among the aristocracy, which comes at great cost to his relationships with his loving wife and children.
According to the film, Barnum’s biggest character flaw is his neglect of his family and troupe members’ needs in favour of promoting his second project, Swedish nightingale Jenny Lind. There was much potential for delving into the ethical issues of exposing labelled outsiders to public scrutiny and ridicule. A more mature perspective would have portrayed a less sunny showman with apparently good intentions to bring the repressed out of the shadows, in turn suggesting a darker, morally ambiguous streak beyond the broad grin. Barnum’s controversial public image is romanticised into a family-friendly depiction of a man with ambition who happens to forget his nearest and dearest when success comes his way. Sadly, Michelle Williams is an underused presence in the film. Her role is limited to looking pretty and serving as a side wings bystander while her husband pursues his dreams. An actress of Williams’ calibre deserves a more interesting part than a one-dimensional caricature of angelic passivity.
There’s no denying that the circus’s main attraction is Hugh Jackman. Once again he shows he can carry off a musical as well as a successful sci-fi franchise, for he has such natural charm and stage presence it’s impossible to imagine anyone else in the part. In favour of an upbeat watch for audience enjoyment, ‘The Greatest Showman’ conveniently glosses over the facts of Barnum’s real-life conduct to the extent of imagining a new story featuring this bold advocate of equality and difference. This dramatic liberty doesn’t take away the strength of Jackman’s performance, as his enthusiasm for what he’s doing is simply irresistible. With leading roles in the ‘High School Musical’ trilogy and ‘Hairspray’, heart throb Zac Efron is a fitting choice for Barnum’s right hand man, even if his vocals sound slightly auto tuned for a period musical. His character could be a transatlantic cousin to Christian from ‘Moulin Rouge!’ for his pursuit of the stunning lead artist, played brilliantly by rising star Zendaya.
The wild and showy exuberance that sells the ‘The Greatest Showman’ will no doubt secure its transition to Broadway by the end of the year, as its performativity works very well. The Golden Globe-winning original song ‘This is Me’, sung with spine-tingling soul by Keala Settle, is hands down the most memorable anthem for courage since Disney’s ‘Let it Go’ with its powerful crescendos and heartfelt message. As a lover of old-fashioned musicals, the film isn’t without its flaws, but its impressive performers hit all the right notes in making you believe in their cause. In these troubled times, ‘The Greatest Showman’ dares to be different, and the result is a refreshing ode to music, love, hope and dreams.
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