User reviews

Remember that this is a horror film of British origin, not American, and as such if you're looking for a typical film of the genre, this is not one of them. British horror films tend to give more attention to the psychological aspects of horror and short shrift to the physical aspects. If you realize this, you should really enjoy this one.

The story revolves around a German plastic surgeon who, in 1947, botches a job badly and has to leave England to escape the notoriety. Fortunately a horrible car accident and near brush with death makes almost everyone convinced of the doctor's death and makes his escape easy. In France he runs across a young girl who was scarred in the war. He repairs her face and in turn inherits the father's circus when the father is mauled by a dancing bear. And I'm not talking about the parts that are a hoot yet.

Now for the discrete charm and campiness of it all. The doctor decides that, along with a name change and a new face for himself, running a circus will be a great front for continuing his plastic surgery practice and experiments. He seems to have no trouble finding scarred female criminals - they practically fall into his lap - and once repairing them he not only has no trouble bedding them, all of the doctor's girls have a talent for walking the high-wire, eating fire, lion taming, etc. - talents that befit a circus. Not a clumsy or shy one or one who would rather be an accountant in the lot.

The doctor does resent it though whenever one wants to leave. Every time one of them announces a desire to leave or an engagement they die a horrible "accidental" death in the ring during what was supposed to be - and tragically is - their last performance. In spite of the bodies piling up, the authorities allow the circus to remain open, and stranger yet - the girls keep TELLING the doctor whenever they want to leave! As for me, after the third freak accident, I'd be packing my things in the middle of the night and disappearing if I had any desire to change careers.

However, without these confrontational and agile girls there would be no story, so it's an understandable plot device. Don't think I'm disrespecting this film - it is great entertainment, just not horror in the conventional sense. And that hammy yet hummable little tune "Reach for a Star" that gets played during every performance is pure 60's British cinema.

A plastic surgeon (Dr. Rossiter), who has just butchered the face of a patient, is on the run. After having an accident and requiring plastic surgery himself, he and his assistants travel to France so the doctor may start anew with a new face and name. After a fatal accident to the owner of a circus, Dr. Rossiter takes over. He soon discovers that he can continue his plastic surgery experiments by operating on murderers, thieves, and prostitutes who all just happen to have some sort of facial deformity or scar. The patients, also with new identities, go to work for the doctor in his circus. The doctor keeps them in line and working through blackmail. As he knows their true identities, they are reluctant to leave. Soon, however, some of the patients become restless and try to 'escape' the doctor. Dr. Rossiter, through a series of 'accidents', makes sure they don't, thereby keeping his secret. Any more of the story would be too much.

Circus of Horrors is a very visually pleasing film. The film's makers appear to have been heavily influenced by the Hammer movies being produced at the time. The lavish colors, costumes, and sets are very Hammer-like. And, like many of the Hammer movies, this one must have been quite shocking for its time. As an example, a knife throwing scene turns particularly nasty.

The movie also features some wonderful acting. Anton Diffring is especially sinister as the mad doctor. Donald Pleasence, in a small role, highlights an above average supporting cast.

The only problem I have with the movie is its tendency to lose focus. Too often, circus scenes seem to go on a little too long and drag the movie down to a snail's pace.

This is a strange little horror gem from the early sixties about a mad plastic surgeon who must flee England because of some not very sound surgery practices. Once out of England, he(played by Anton Diffring with aplomb) and his two cohorts murder their way into owning a run-down circus whilst in France. From there on ten years pass as the doctor fixes the disfigured faces of thieves and prostitutes in return for their services in the circus. Well...I am not making this up but the doctor and his renegade circus performers then travel all over Europe and become a huge success. Problems start to happen though as the beautiful female star attractions want out of the circus...and the bed of Diffring...only to find their solace in bizarre deaths...circus-related of course. One female is killed in a knife-throwing accident while another falls while trapezing. This is a credulous scenario to be sure, but the film is quite fun. The acting is good: Diffring is marvelous as the mad physician plagued with his obsession for perfection in beauty, Donald Pleasance is quite good in a small role, and the female leads are quite stunning...visually of course. The music is rather hokey...very sixties, but atmosphere is otherwise rather well-staged. All in all I think I would prefer this over spending my time in a real circus...what a "real" horror. Enjoy.

Fairly routine circus horror story well executed. There are a few scenes featuring the lady rope swinger set to bizarre music that are really breathtaking. The story concerns some radical plastic surgeons (with possible nazi connections) who take over a circus and populate it entirely with their patients/victims, who are killed one by one. Beautiful color photography. Anchor Bay has a very nice DVD of this one that fans should pick up.

This movie reminds me of classic Hammer horror, but it starts movement away from the stereotypes of classic monsters. A surgeon is running from the authorities from using controversial procedures that caused permanent damage, finding refuge in a failing circus. The rest of the film depicts this doctor's fixation and obsession with beauty and the length that he will go for this. Circus of Horrors relies more on psychological tension to depict the monstrosity of human kind when there are not parties willing to keep us in check.

In 1947 amid the many cinematic features of the time, appeared this highly underrated offering entitled, The Circus of Horrors. The plot was simple enough, a extremely talented, though noticeably unstable, plastic Surgeon is propelled into madness by his obsession to create the perfect face. Finding a drunken, destitute Circus owner (Donald Pleasence) with a disfigured child, Dr. Rossiter, superbly played by Anton Diffring, miraculous gives her a new face and together with his two murderous assistants,(Kenneth Griffen and Jane Hylton) set out to travel Europe, using the traveling circus as a front. During the circus's ten year run, numerous accidental deaths occur inviting the attention of the international police. Faced with possible capture and execution, Rossiter embarks on a final, murderous tour which he envisions will lead him to being honored as the greatest plastic surgeon of all time. Despite it's low budget and camp trailer, this film produced an international musical hit and a significant cult status. ****

In the early sixties Anglo-Amalgamated became the alternative to Hammer for cheap horror thrills but in a more contemporary setting and "Circus of Horrors" was one of their better enteries, (the use of a real-life circus, in this case Billy Smart's, certainly helped). Anton Diffring is the psychopathic surgeon who takes over a circus as a front for his activities but who still can't keep death from his door. There's a greater emphasis on sex than in the Hammer films and director Sidney Hayers serves up a bevvy of European beauties as actual and potential victims. Hardly ground-breaking but fun nevertheless.

While the cinematography in this one is somewhat lacking, the story is genuinely atmospheric, although it felt more like an exploitation film than what it was. The development of the characters and their relation to the plot is what is so memorable about this one. Our star is to be hated, reviled, that much is clear from the onset, but once that has been set in our minds, this work really delivers, in a Sigourney Weaver kind of way. I can't really say more than that without giving away the plot and the ending, so I won't.

If you're into retro-horror, this is a definite must see. It's not the best horror, but it is probably one of the best ever done by the British.

It rates a 7.2/10 from...

the Fiend :.

I recall seeing this film as a child in 1960. My mother was quite angry at dad for taking us to a movie that was "definitely not for children". This is a grim story of a doctor fleeing some botched plastic surgeries. He takes over a backwoods circus and populates it with beautiful, yet disfigured female performers whom he restores to beauty and rescues from lives of prostitution and rejection. Of course, once the circus becomes successful, the ladies no longer feel like putting up with, or putting out for him, so he devises elaborate circus "accidents" to deal with their ingratitude.

The song "Look For A Star" permeates the movie at various times. At first, it's almost unnoticeable, a seemingly lame early sixties pop tune. However, as the movie progresses it takes on a sinister, disturbing aspect and circulates the brain long after it is over.

The film is well acted and truly suspenseful. A must for those who like their sex and violence done in a literate, intelligent manner.

Trying to emulate the success of Hammer Films, Anglo-Amalgamated made a series of gruesome contemporary horror shockers around 1959/60 (others included "Peeping Tom" & "Horrors of the Black Museum").

This cheerfully lurid shocker exploits the mixed emotions we feel when watching circus performers - the idea of something going terribly wrong is horrible, yet exciting. But crude as the concept is, cast and crew play it for all it's got : Anton Diffring is excellent in the lead role and Sidney Hayers' direction is slick and effective.

The all-stops-out climax is great stuff and there's an effective final scene. The frequently-heard background song, "Reach For A Star", is corny but you won't be able to shake it out of your head!

Low budget, ham-handed, and very briskly paced, these qualities also lend at times to an air of inauthenticity, a sense bolstered by reaction shots of circus crowds that bear the appearance of stock footage. Such matters are unfortunate, as is the recognition of how circus animals are treated in their training and routines. On the other hand, if imperfect, George Baxt's screenplay is filled with notes of brilliance - murder, conspiracy, unsanctioned experimentation, and controlling manipulation, all under the Big Tent. For all the gaucheness, there's some fine subtlety and nuance in the characters and scene writing that's welcome and gratifying, and for the most part this is echoed as well in the cast and their performances. I can't say that 'Circus of horrors' is flawless, but despite any shortcomings it's unexpectedly well made and solidly engaging all the while. This is pretty fun!

There are definitely moments dotted throughout the film that especially scream "ungenuine" or "over the top," such as the first death scene, or the last instance of Colette Wilde's acting. These are thankfully contrasted with characters of some complexity, and dialogue that in the very least serves the building of plot and characters if not also being enriching of its own accord. Suitably varied scene writing crafts some tension as it spins the narrative, fostering too an air of suspense as events escalate in the last third or so of the runtime. And while the plot may not be perfectly grabbing, I'm inclined to think that's just in part owed to watching an older film from the perspective of 60 years on - when you get right down to it, the villainy and violence remains rather horrid, if just not as visceral as modern viewers are accustomed to. This is indeed a horror flick, with quite the "trail of blood" behind it, only with the sensibilities thereof of the 60s.

The production design and art direction are swell, as is the costume design and hair and makeup work. The (human) stunts performed during scenes at the circus are, unsurprisingly, quite dazzling, and scenes at large are orchestrated with a deft hand. Some specific moments aside, the acting is generally very strong, with Anton Diffring, Jane Hylton, and Kenneth Griffith particularly standing out (though in fairness, they also have the most time on-screen in the first place). And in addition to Baxt's screenwriting, I think director Sidney Hayers does a fine job of overseeing the picture and bringing the vision to splendid, twisted life. All told this is well made as a whole; mostly I just wish a bit more care were taken to let scenes achieve their best potential. That might mean more earnestness and less kitsch, or a smidgen less freneticism so moments could be held for an instant longer for more impact. Still, even through the weakest points, by and large 'Circus of horrors' is an engaging, satisfying slice of genre cinema that continues to hold up fairly well several decades later. This isn't necessarily something to go out of your way to see, but if you have the chance to watch, this is worth ninety minutes of your time!

I recall seeing this in the early 60's on a double bill with Horrors Of The Black Museum and if I now find it a little less sensational than I did then this is probably because it was one of my very first colour horror films and made more of an impact than it might. It remains colourful and well paced and the circus details are splendid but the directing of the cast seems rather lacklustre. Kenneth Griffith looks like a lost boy throughout and it is astonishing to discover he had already been in movies for 20 years, one could be forgiven for thinking it were his first. Anton Diffring seems decidedly one note, but then that is more or less his style and it is effective, whilst Donald Pleasence is already over acting, even if he does have hair here. But it's an unusual British movie with a surprising amount of sex and violence and if the lovely ladies are more concerned to keep their hair looking good than help in a fight, I guess that's what we expect of the period. There is plenty to enjoy and the atmospheric song, Look For A Star fades in and out most effectively whilst real shots of Billy Smarts circus help to add to the realism even if lovely ladies are coming to sticky ends and various animals are chomping at the bit all around.

Potential viewers of the 1960 British thriller "Circus of Horrors" should not be put off by its cast of relative unknowns; it is a real winner, despite that. This film tells the fascinating story of Dr. Rossiter, who, after performing a botched plastic surgery operation in post-War England, flees to France with his two associates, changes his name to Schuler, acquires a seedy circus, and supplies it with War-scarred women who he's made beautiful using his surgical skills. Those uppity women who get the itch to leave their performing berths soon suffer unfortunate ends, inevitably giving Schuler's show the nickname of "the jinxed circus." The picture features some suspenseful and mildly grisly deaths for several of the female performers--the knife-throwing bit is particularly nail biting--and builds to an extremely exciting finale in its last 20 minutes or so. Though the only name I knew in the cast going in was that of Donald Pleasence, I also soon recognized Kenneth Griffith and Peter Swanwick from one of my favorite TV programs of all time, "The Prisoner"; welcome presences, indeed. But this film certainly belongs to Anton Diffring, as the crazed and unethical Rossiter; he is truly excellent in the lead role, giving his completely unsympathetic character depth and even some pathos by the end. Many viewers who speak of this film can't seem to resist mentioning the "Look For A Star" tune that permeates it. This song is schmaltzy and cheesy as can be, and yes, will annoyingly stay with you for days afterwards. Still, the film itself is well plotted, colorful, moves along briskly, and has a strange undercurrent of sex and grotesque mutilation that must have made it really stand out in 1960. I enjoyed this one a lot more than I thought I would, I must say!

Bad. Bad. Very bad. Not one moment of horror. Not even one moment of guignol. So - a bad plastic surgeon kills his patients if they threaten to leave him and his circus that he acquired by passively killing the owner, Donald Pleasence.

Set back in 1947 a crazed plastic surgeon Dr. Rossiter (Anton Diffring) botches a job in a very nice intro to the film. So along with his two sibling assistants Angela (Jane Hylton) and Martin (Kenneth Griffith), a new name in Dr. Schuler and a newly reconstructed face he is on the run. Until they come across a circus, which they find will be a perfect hiding spot. The circus is handed over to Dr. Schuler after the circus owner (horror icon Donald Pleasance) dies in an extremely unrealistic bear fight. Looks like he is dancing with an obviously dead stuffed bear. Fast forward 10 years and now Dr. Schuler wants to show the world his ability in plastic surgery while keeping those fellow circus performers at bay who may know a thing or two about the doctor's past.

Well directed by Sidney Hayers and based on a screenplay by George Baxt. Also has a nice look thanks to cinematographer Douglas Slocombe. I think the film is nicely paced and full of life. I actually found the sibling characters to be very interesting characters. Angela has a burning heart for the doctor while Martin assists the doctor in committing murders. In addition I enjoy the circus as being a setting in horror films. Of course they also have to be scripted well. This classic does that and keeps the viewer interested to carry on through out the film. If you enjoy classic British horror films that do not deal with the supernatural give this one a shot.

One of the best horror films of the 1960s is this entry with its interesting mix of suspense, sex and mysterious deaths that has the benefit of real circus settings and fine work by Anton Diffring as the outlaw plastic surgeon. Diffring is the erudite but flawed medical genius whose past is littered with botched operations but continues his work behind the prop of a circus staffed with female performers whose faces he has restored in exchange for fealty and silence. Diffring gives the film its pulse as the resourceful and controlling renegade who keeps his flawed females on a very short leash. The film moves along at a good pace with no filler or wasted scenes. Donald Pleasance, erstwhile owner of the circus, is among the good supporting cast that includes the buxom ladies who are at great risk under Diffring's watchful, evil eye.

I believe it was Frank "Basketcase" Henlotter who once named this as

his all time favorite film, solely based on the absurdity of the wildly

purple plot.

He's got a point, what with a wanted man hiding by becoming

ringmaster of "the jinx" circus, where the star attractions have a way

of getting knocked off. If you saw this, like me, years ago on a little black and white

T.V.(on UHF) the great, loaded, letterboxed DVD of this colorful film

will come as a real revelation. This is great, well acted, B movie fun a lot of people are yet to

discover. The thin, still with hair Donald Plesence had already been in

films for many years when he did his memorable small part in this. Check

it out!