The Clown


1h 32m 1953
The Clown

Brief Synopsis

In this remake of The Champ, a drunken clown tries to make a comeback so he can keep his son.

Film Details

Genre
Drama
Release Date
Jan 16, 1953
Premiere Information
not available
Production Company
Metro-Goldwyn-Mayer Corp.
Distribution Company
Loew's Inc.
Country
United States

Technical Specs

Duration
1h 32m
Sound
Mono (Western Electric Sound System)
Color
Black and White
Theatrical Aspect Ratio
1.37 : 1
Film Length
8,080ft (10 reels)

Synopsis

At the Coney Island amusement park, clown Dodo Delwyn entertains the crowds as his young son Dink watches proudly, but then is fired when his teasing goes too far and angers a customer. Dodo and Dink call on Dodo's agent, Danny Daylor, who reproaches Dodo for his recent spate of problems on the job but arranges an audition for that evening. After leaving Danny's office, however, Dodo goes to a bar and drinks until he passes out. Dink fetches his father and takes him to the audition, but the client smells liquor on his breath and walks out. Dink sadly takes his father home and puts him to bed, listening impassively when Dodo vows to quit drinking. The next morning, Dink goes to see agent Benjamin Y. "Goldie" Goldenson and asks him to manage Dodo, as he did in the past. The kind-hearted Goldie reminisces fondly about Dodo's days with the Ziegfeld Follies and gives Dink fifty dollars as an "advance." Dodo rejects the money as charity, but when he indignantly phones the agency, Goldie's associate, Joe Hoagley, who overheard his conversation with Dink, tells Dodo he has a booking that evening at a convention at the Ritz Plaza. In high spirits, Dodo and Dink go to a pawn shop, where Dodo retrieves both his tuxedo and his most prized possession, an engraved watch given to him by Ziegfeld. Dodo gives the watch to Dink, who is overwhelmed by the gift. That evening, Goldie is unpleasantly surprised when Dodo shows up for work and tries in vain to dissuade him from going on in the thankless stooge role. Goldie takes Dink to the hotel's soda fountain, where they encounter Paula Henderson, who is attending the convention with her husband Ralph, a successful businessman. Later, while Dodo is being humiliated onstage in the comic sketch, he and Paula spot each other. At Paula's request, Ralph goes backstage to see Dodo, who confirms that Dink is the son Paula has not seen since her divorce from Dodo years before. When Ralph gives him two hundred dollars, Dodo reluctantly agrees to let Dink visit the Hendersons briefly in their suite. Dodo sends the boy up with no explanation, and when Paula tells Dink she is his mother, he is surprised but unmoved. Dodo then takes Dink to an all-night dice game, where he loses all his money and the watch, which he removes from his sleeping son. Later that morning, Ralph calls on Dodo and asks him to let Dink live with them for a while, but Dodo refuses. When Dink wakes up, he discovers the watch is missing, but Dodo promises to get it back. Desperate for money, Dodo agrees to entertain at a stag party for the shady Little Julie, but the party is raided by the police. After Goldie bails him out, Dodo says he has decided to give Dink to Paula. Dodo tells Dink he does not want him anymore, and strikes the boy when he tearfully objects. The crestfallen Dink leaves with Goldie, and Dodo weeps with anger at himself for having hit his son. Despite the Hendersons' kindness, Dink is miserable in their luxurious home, and one night he runs away. Goldie has just offered Dodo a shot at his own television series when Dink walks in, and father and son are happily reunited. The Dodo Delwyn Show goes into production, and one day Dodo has a dizzy spell during rehearsals. On the night of the first broadcast, Paula and Ralph are in the audience, and the show is going well until Dodo collapses offstage. Goldie and Dink beg Dodo not to go on with the show, but Dodo, determined to make his son proud, insists on performing the final sketch. Dodo finishes the show but collapses afterwards and dies in his dressing room. When Ralph and Paula come in, the grief-stricken Dink calls Paula "mother" for the first time, and the boy goes home with his new family.

Cast

Red Skelton

Dodo Delwyn

Jane Greer

Paula Henderson

Tim Considine

Dink Delwyn

Loring Smith

[Benjamin Y.] Goldie [Goldenson]

Philip Ober

Ralph Z. Henderson

Lou Lubin

Little Julie

Fay Roope

Dr. Strauss

Walter Reed

Joe Hoagley

Edward Marr

Television director

Jonathan Cott

Floor director

Don Beddoe

Gallagher

Steve Forrest

Young man

Ned Glass

Danny Dayler

Steve Carruthers

Maitre d'hotel

Billy Barty

Midget

David Saber

Silvio

Sandra Gould

Bunny

Gil Perkins

Dundee

Danny Richards Jr.

Herman

Mickey Little

Lefty

Charles Calvert

Jackson

Karen Steele

Blonde

Jack Heasley

Twin

Bob Heasley

Twin

Helene Millard

Miss Battson

Forrest Lewis

Pawn broker

Charles Buchinsky

Eddie

Robert Ford

Al Zerney

John Mckee

Counter man

Robert R. Stephenson

Counter man

Jesse Kirkpatrick

Sergeant

Lee Phelps

Sergeant

Martha Wentworth

Neighbor

Inge Jolles

Secretary

Harry Stanton

Hogarth

Linda Bennett

Judy

Wilson Wood

Wardrobe man

Frank Nelson

Charlie

Thomas Dillon

Clancy

Mary Foran

Heavy girl

Tom Murray

Vendor

Joe Evans

Attendant

Walter Ridge

Attendant

George Boyce

Attendant

Donald Kerr

Attendant

Mickey Golden

Attendant

Eva Martell

Dancer

Neva Martell

Dancer

Jules Brock

Black dancer

Roger Moore

Man with Hogarth

Mickey Mccardle

Man in lobby

Harry Mendoza

Alfred the Great

Al Hill

Dice player

Jerry Schumacher

Dice player

Barry Regan

Dice player

Lennie Bremen

George

Shirley Mitchell

Mrs. Blotto

G. Pat Collins

Mr. Christenson

Cy Stevens

Makeup man

Brick Sullivan

Stagehand

David Bair

T.V. page boy

Norma Zimmer

Ajax Sister

Betty Noyes

Ajax Sister

Betty Allen

Ajax Sister

Dorothy Mccarty

Ajax Sister

Lucille Knoch

Jan Kayne

Vici Raaf

Paul Raymond

James Horan

Sharon Saunders

Al Freeman

Jimmie Thompson

Allen O'locklin

Tony Merrill

Film Details

Genre
Drama
Release Date
Jan 16, 1953
Premiere Information
not available
Production Company
Metro-Goldwyn-Mayer Corp.
Distribution Company
Loew's Inc.
Country
United States

Technical Specs

Duration
1h 32m
Sound
Mono (Western Electric Sound System)
Color
Black and White
Theatrical Aspect Ratio
1.37 : 1
Film Length
8,080ft (10 reels)

Articles

The Clown


Red Skelton was a very busy man in the early 1950s. He was making feature films for Metro-Goldwyn-Mayer and starring in his weekly radio series, which had been on the air since 1941. Adding to his workload, his TV series The Red Skelton Show premiered on September 30th, 1951. (His radio series ran through 1953, so for two seasons the comedian did a show in both mediums). Television would prove to be the ideal outlet for Skelton's talents; during the play out of his movie contract with MGM, the studio was increasingly unsure of how to utilize him. One of his last pictures was a definite departure - a drama called The Clown (1953), a remake of an earlier dramatic success for MGM, The Champ (1931).

The Champ, written by Frances Marion and directed by King Vidor, told the story of a prize fighter (Wallace Beery) who is long past his prime and has fallen to drinking and gambling. He is helped along and even looked after by his adoring son, Dink (Jackie Cooper). Writer Martin Rackin had the idea to revamp the story to provide a dramatic vehicle for Skelton. In his book Make It Again, Sam: A Survey of Movie Remakes Michael B. Druxman quotes Rackin: "We wanted to do a picture with Red that had a kid in it and utilized the script from Beery's old movie because it seemed to have the same kind of relationship with kids that we wanted to incorporate into our picture. I also thought that a film set against the then-relatively new television industry would be interesting."

Rackin worked with Leonard Praskins to fashion a new screenplay based on the story of The Champ. In The Clown, Dodo Delwyn (Skelton) is a washed-up vaudeville comedian. He had once been a great star for Florence Ziegfeld, but was now given to blowing what little he earns on booze and crap games. His eight-year-old son Dink (Tim Considine) has not given up on him, however. Dink prevails on "Uncle Goldie" (Loring Smith), Dodo's agent from his glory days, to help out with money and minor bookings. Dink's mother Paula (Jane Greer) turns up, now remarried and wealthy. She and her new husband Ralph (Philip Ober) try and persuade Dodo to give up Dink to be raised in their family. After hitting rock bottom, Dodo agrees and in a particularly emotional scene, forces Dink away. On the eve of a new opportunity for Dodo to make a comeback on television, Dink runs away and returns to his father.

Most reviews at the time were lukewarm to the movie, but had praise for Skelton's dramatic turn. 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." Some welcome and familiar faces appear in The Clown in minor roles, including Billy Barty as a Coney Island performer, Charles Bronson as a gambler, and Frank Nelson as a bombastic hack comic.

Audiences were not keen on seeing Red Skelton in such an offbeat role - The Clown was a money-loser for MGM at the box office. The studio released two final Skelton pictures that same year: Half a Hero (1953) and The Great Diamond Robbery (1953). Following the end of his MGM contract, Skelton's remaining movie appearances were confined to cameos in such films as Susan Slept Here (1954), Ocean's Eleven (1960), and Those Magnificent Men in Their Flying Machines (1965).

The Clown was not Skelton's only foray into drama; in 1956 he appeared in an episode of CBS' Playhouse 90 called "The Big Slide," playing a punch-drunk boxer named Buddy McCoy, a role which earned him an Emmy nomination. By that time The Red Skelton Show was a fixture on Tuesday nights on CBS, where it eventually became one of the longest-running series on television. Meanwhile, Tim Considine continued to have a successful career as a child actor, appearing as Spin Evans on the "Spin and Marty" serial seen during The Mickey Mouse Club, then as Mike Douglas, one of Fred MacMurray's offspring on the early seasons of the series My Three Sons.

The Champ went before the cameras again in 1979. Director Franco Zeffirelli adhered closer to the original story for this version, which starred Jon Voight as boxer Billy Flynn and Ricky Schroder as his son T.J.

Producer: William H. Wright
Director: Robert Z. Leonard
Screenplay: Martin Rackin, adaptation by Leonard Praskins, story by Frances Marion
Cinematography: Paul Vogel
Film Editing: Gene Ruggiero
Music: David Rose
Art Direction: Cedric Gibbons, Wade B. Rubottom
Makeup: William Tuttle
Cast: Red Skelton (Dodo Delwyn), Tim Considine (Dink Delwyn), Jane Greer (Paula Henderson), Loring Smith (Goldie Goldenson), Philip Ober (Ralph Z. Henderson), Lou Lubin (Julie), Fay Roope (Dr. Strauss).
BW-91m. Closed captioning.

by John M. Miller
The Clown

The Clown

Red Skelton was a very busy man in the early 1950s. He was making feature films for Metro-Goldwyn-Mayer and starring in his weekly radio series, which had been on the air since 1941. Adding to his workload, his TV series The Red Skelton Show premiered on September 30th, 1951. (His radio series ran through 1953, so for two seasons the comedian did a show in both mediums). Television would prove to be the ideal outlet for Skelton's talents; during the play out of his movie contract with MGM, the studio was increasingly unsure of how to utilize him. One of his last pictures was a definite departure - a drama called The Clown (1953), a remake of an earlier dramatic success for MGM, The Champ (1931). The Champ, written by Frances Marion and directed by King Vidor, told the story of a prize fighter (Wallace Beery) who is long past his prime and has fallen to drinking and gambling. He is helped along and even looked after by his adoring son, Dink (Jackie Cooper). Writer Martin Rackin had the idea to revamp the story to provide a dramatic vehicle for Skelton. In his book Make It Again, Sam: A Survey of Movie Remakes Michael B. Druxman quotes Rackin: "We wanted to do a picture with Red that had a kid in it and utilized the script from Beery's old movie because it seemed to have the same kind of relationship with kids that we wanted to incorporate into our picture. I also thought that a film set against the then-relatively new television industry would be interesting." Rackin worked with Leonard Praskins to fashion a new screenplay based on the story of The Champ. In The Clown, Dodo Delwyn (Skelton) is a washed-up vaudeville comedian. He had once been a great star for Florence Ziegfeld, but was now given to blowing what little he earns on booze and crap games. His eight-year-old son Dink (Tim Considine) has not given up on him, however. Dink prevails on "Uncle Goldie" (Loring Smith), Dodo's agent from his glory days, to help out with money and minor bookings. Dink's mother Paula (Jane Greer) turns up, now remarried and wealthy. She and her new husband Ralph (Philip Ober) try and persuade Dodo to give up Dink to be raised in their family. After hitting rock bottom, Dodo agrees and in a particularly emotional scene, forces Dink away. On the eve of a new opportunity for Dodo to make a comeback on television, Dink runs away and returns to his father. Most reviews at the time were lukewarm to the movie, but had praise for Skelton's dramatic turn. 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." Some welcome and familiar faces appear in The Clown in minor roles, including Billy Barty as a Coney Island performer, Charles Bronson as a gambler, and Frank Nelson as a bombastic hack comic. Audiences were not keen on seeing Red Skelton in such an offbeat role - The Clown was a money-loser for MGM at the box office. The studio released two final Skelton pictures that same year: Half a Hero (1953) and The Great Diamond Robbery (1953). Following the end of his MGM contract, Skelton's remaining movie appearances were confined to cameos in such films as Susan Slept Here (1954), Ocean's Eleven (1960), and Those Magnificent Men in Their Flying Machines (1965). The Clown was not Skelton's only foray into drama; in 1956 he appeared in an episode of CBS' Playhouse 90 called "The Big Slide," playing a punch-drunk boxer named Buddy McCoy, a role which earned him an Emmy nomination. By that time The Red Skelton Show was a fixture on Tuesday nights on CBS, where it eventually became one of the longest-running series on television. Meanwhile, Tim Considine continued to have a successful career as a child actor, appearing as Spin Evans on the "Spin and Marty" serial seen during The Mickey Mouse Club, then as Mike Douglas, one of Fred MacMurray's offspring on the early seasons of the series My Three Sons. The Champ went before the cameras again in 1979. Director Franco Zeffirelli adhered closer to the original story for this version, which starred Jon Voight as boxer Billy Flynn and Ricky Schroder as his son T.J. Producer: William H. Wright Director: Robert Z. Leonard Screenplay: Martin Rackin, adaptation by Leonard Praskins, story by Frances Marion Cinematography: Paul Vogel Film Editing: Gene Ruggiero Music: David Rose Art Direction: Cedric Gibbons, Wade B. Rubottom Makeup: William Tuttle Cast: Red Skelton (Dodo Delwyn), Tim Considine (Dink Delwyn), Jane Greer (Paula Henderson), Loring Smith (Goldie Goldenson), Philip Ober (Ralph Z. Henderson), Lou Lubin (Julie), Fay Roope (Dr. Strauss). BW-91m. Closed captioning. by John M. Miller

TCM Remembers Charles Bronson - Sept. 13th - TCM Remembers Charles Bronson this Saturday, Sept. 13th 2003.


Turner Classic Movies will honor the passing of Hollywood action star Charles Bronson on Saturday, Sept. 13, with a four-film tribute.

After years of playing supporting roles in numerous Western, action and war films, including THE MAGNIFICENT SEVEN (1960, 8 p.m.) and THE DIRTY DOZEN (1967, 1:15 a.m.), Bronson finally achieved worldwide stardom as a leading man during the late 1960s and early 1970s. TCM's tribute will also include THE GREAT ESCAPE (1963, 10:15 p.m.), Bronson's second teaming with Steve McQueen and James Coburn, and will conclude with FROM NOON TILL THREE (1976, 4 a.m.), co-starring Jill Ireland.

TCM will alter it's prime-time schedule this Saturday, Sept. 13th. The following changes will take place:

8:00 PM - The Magnificent Seven (1960)
10:15 PM - The Great Escape (1963)
1:15 AM - The Dirty Dozen (1967)
4:00 AM - From Noon Till Three (1976)

Charles Bronson, 1921-2003

Charles Bronson, the tough, stony-faced actor who was one of the most recognizable action heroes in cinema, died on August 30 in Los Angeles from complications from pneumonia. He was 81.

He was born Charles Buchinsky on November 3, 1921 in Ehrenfeld, Pennsylvania, one of fifteen children born to Lithuanian immigrant parents. Although he was the only child to have graduated high school, he worked in the coalmines to support his family until he joined the army to serve as a tail gunner during World War II. He used his money from the G.I. Bill to study art in Philadelphia, but while working as a set designer for a Philadelphia theater troupe, he landed a few small roles in some productions and immediately found acting to be the craft for him.

Bronson took his new career turn seriously, moved to California, and enrolled for acting classes at The Pasadena Playhouse. An instructor there recommended him to director Henry Hathaway for a movie role and the result was his debut in Hathaway's You're in the Navy Now (1951). He secured more bit parts in films like John Sturges' drama The People Against O'Hara (1951), and Joseph Newman's Bloodhounds of Broadway (1952). More substantial roles came in George Cukor's Pat and Mike (1952, where he is beaten up by Katharine Hepburn!); Andre de Toth's classic 3-D thriller House of Wax (1953, as Vincent Price's mute assistant, Igor); and De Toth's fine low-budget noir Crime Wave (1954).

Despite his formidable presence, his leads were confined to a string of B pictures like Gene Fowler's Gang War; and Roger Corman's tight Machine Gun Kelly (both 1958). Following his own television series, Man With a Camera (1958-60), Bronson had his first taste of film stardom when director Sturges casted him as Bernardo, one of the The Magnificent Seven (1960). Bronson displayed a powerful charisma, comfortably holding his own in a high-powered cast that included Yul Brynner and Steve McQueen. A few more solid roles followed in Sturges' The Great Escape (1963), and Robert Aldrich's classic war picture The Dirty Dozen (1967), before Bronson made the decision to follow the European trail of other American actors like Clint Eastwood and Lee Van Cleef. It was there that his hard, taciturn screen personae exploded in full force. In 1968 alone, he had four hit films: Henri Verneuil's Guns for San Sebastian, Buzz Kulik's Villa Rides, Jean Herman's Adieu l'ami which was a smash in France; and the classic Sergio Leone spaghetti Western Once Upon a Time in the West.

These films established Bronson as a huge box-office draw in Europe, and with some more stylish hits like Rene Clement's Rider on the Rain (1969), and Terence Young's Cold Sweat (1971) he soon became one of the most popular film stars in the world. It wasn't easy for Bronson to translate that success back in his homeland. In fact, his first few films on his return stateside: Michael Winners' Chato's Land, and The Mechanic (both 1972), and Richard Fleischer's Mr. Majestyk (1973), were surprisingly routine pictures. It wasn't until he collaborated with Winner again for the controversial Death Wish (1974), an urban revenge thriller about an architect who turns vigilante when his wife and daughter are raped, did he notch his first stateside hit. The next few years would be a fruitful period for Bronson as he rode on a wave of fine films and commercial success: a depression era streetfighter in Walter Hill's terrific, if underrated Hard Times (1975); Frank Gilroy's charming offbeat black comedy From Noon Till Three (1976, the best of many teamings with his second wife, Jill Ireland); Tom Gries tense Breakheart Pass; and Don Siegel's cold-war thriller Telefon (1977).

Sadly, Bronson could not keep up the momentum of good movies, and by the '80s he was starring in a string of forgettable films like Ten to Midnight (1983), The Evil That Men Do (1984), and Murphy's Law (1986, all directed by J. Lee Thompson). A notable exception to all that tripe was John Mackenzie's fine telefilm Act of Vengeance (1986), where he earned critical acclaim in the role of United Mine Workers official Jack Yablonski. Although he more or less fell into semi-retirement in the '90s, his performances in Sean Penn's The Indian Runner (1991); and the title role of Michael Anderson's The Sea Wolf (1993) proved to many that Bronson had the makings of a fine character actor. He was married to actress Jill Ireland from 1968 until her death from breast cancer in 1990. He is survived by his third wife Kim Weeks, six children, and two grandchildren.

by Michael T. Toole

TCM Remembers Charles Bronson - Sept. 13th - TCM Remembers Charles Bronson this Saturday, Sept. 13th 2003.

Turner Classic Movies will honor the passing of Hollywood action star Charles Bronson on Saturday, Sept. 13, with a four-film tribute. After years of playing supporting roles in numerous Western, action and war films, including THE MAGNIFICENT SEVEN (1960, 8 p.m.) and THE DIRTY DOZEN (1967, 1:15 a.m.), Bronson finally achieved worldwide stardom as a leading man during the late 1960s and early 1970s. TCM's tribute will also include THE GREAT ESCAPE (1963, 10:15 p.m.), Bronson's second teaming with Steve McQueen and James Coburn, and will conclude with FROM NOON TILL THREE (1976, 4 a.m.), co-starring Jill Ireland. TCM will alter it's prime-time schedule this Saturday, Sept. 13th. The following changes will take place: 8:00 PM - The Magnificent Seven (1960) 10:15 PM - The Great Escape (1963) 1:15 AM - The Dirty Dozen (1967) 4:00 AM - From Noon Till Three (1976) Charles Bronson, 1921-2003 Charles Bronson, the tough, stony-faced actor who was one of the most recognizable action heroes in cinema, died on August 30 in Los Angeles from complications from pneumonia. He was 81. He was born Charles Buchinsky on November 3, 1921 in Ehrenfeld, Pennsylvania, one of fifteen children born to Lithuanian immigrant parents. Although he was the only child to have graduated high school, he worked in the coalmines to support his family until he joined the army to serve as a tail gunner during World War II. He used his money from the G.I. Bill to study art in Philadelphia, but while working as a set designer for a Philadelphia theater troupe, he landed a few small roles in some productions and immediately found acting to be the craft for him. Bronson took his new career turn seriously, moved to California, and enrolled for acting classes at The Pasadena Playhouse. An instructor there recommended him to director Henry Hathaway for a movie role and the result was his debut in Hathaway's You're in the Navy Now (1951). He secured more bit parts in films like John Sturges' drama The People Against O'Hara (1951), and Joseph Newman's Bloodhounds of Broadway (1952). More substantial roles came in George Cukor's Pat and Mike (1952, where he is beaten up by Katharine Hepburn!); Andre de Toth's classic 3-D thriller House of Wax (1953, as Vincent Price's mute assistant, Igor); and De Toth's fine low-budget noir Crime Wave (1954). Despite his formidable presence, his leads were confined to a string of B pictures like Gene Fowler's Gang War; and Roger Corman's tight Machine Gun Kelly (both 1958). Following his own television series, Man With a Camera (1958-60), Bronson had his first taste of film stardom when director Sturges casted him as Bernardo, one of the The Magnificent Seven (1960). Bronson displayed a powerful charisma, comfortably holding his own in a high-powered cast that included Yul Brynner and Steve McQueen. A few more solid roles followed in Sturges' The Great Escape (1963), and Robert Aldrich's classic war picture The Dirty Dozen (1967), before Bronson made the decision to follow the European trail of other American actors like Clint Eastwood and Lee Van Cleef. It was there that his hard, taciturn screen personae exploded in full force. In 1968 alone, he had four hit films: Henri Verneuil's Guns for San Sebastian, Buzz Kulik's Villa Rides, Jean Herman's Adieu l'ami which was a smash in France; and the classic Sergio Leone spaghetti Western Once Upon a Time in the West. These films established Bronson as a huge box-office draw in Europe, and with some more stylish hits like Rene Clement's Rider on the Rain (1969), and Terence Young's Cold Sweat (1971) he soon became one of the most popular film stars in the world. It wasn't easy for Bronson to translate that success back in his homeland. In fact, his first few films on his return stateside: Michael Winners' Chato's Land, and The Mechanic (both 1972), and Richard Fleischer's Mr. Majestyk (1973), were surprisingly routine pictures. It wasn't until he collaborated with Winner again for the controversial Death Wish (1974), an urban revenge thriller about an architect who turns vigilante when his wife and daughter are raped, did he notch his first stateside hit. The next few years would be a fruitful period for Bronson as he rode on a wave of fine films and commercial success: a depression era streetfighter in Walter Hill's terrific, if underrated Hard Times (1975); Frank Gilroy's charming offbeat black comedy From Noon Till Three (1976, the best of many teamings with his second wife, Jill Ireland); Tom Gries tense Breakheart Pass; and Don Siegel's cold-war thriller Telefon (1977). Sadly, Bronson could not keep up the momentum of good movies, and by the '80s he was starring in a string of forgettable films like Ten to Midnight (1983), The Evil That Men Do (1984), and Murphy's Law (1986, all directed by J. Lee Thompson). A notable exception to all that tripe was John Mackenzie's fine telefilm Act of Vengeance (1986), where he earned critical acclaim in the role of United Mine Workers official Jack Yablonski. Although he more or less fell into semi-retirement in the '90s, his performances in Sean Penn's The Indian Runner (1991); and the title role of Michael Anderson's The Sea Wolf (1993) proved to many that Bronson had the makings of a fine character actor. He was married to actress Jill Ireland from 1968 until her death from breast cancer in 1990. He is survived by his third wife Kim Weeks, six children, and two grandchildren. by Michael T. Toole

Quotes

Trivia

In part for its obvious publicity value, MGM had interest in casting Jackie Cooper's son John in the role his father had created in Champ, The (1931/I) some twenty years before. He was favorably screen-tested and was to be billed as "Jackie Cooper Jr." But his father, well-versed in the pitfalls of child acting, objected to obligating the boy to a contract with the studio. Young Cooper was only six anyway, and his age made the casting a stretch despite the good screen test. Tim Considine, several years older, was selected.

Notes

The order of names in the opening cast credits differs slightly from the order of the end credits. The Daily Variety review noted that "Dodo Delwyn's" television show was closely patterned on Red Skelton's own popular weekly program. Skelton began his television career in 1951 with The Red Skelton Show, broadcast on the NBC network. In 1953, he switched to CBS, and continued to appear on that network until 1970. Tim Considine, who made his film debut in The Clown, was the third generation of an established theatrical family. His grandfathers were rival theater owners John W. Considine, Sr. and Alexander Pantages, and his father, John W. Considine, Jr., was a prominent producer at M-G-M.
       According to an March 11, 1952 Hollywood Reporter news item, Gene Fowler and Gene Towne were writing a treatment of the story, which was owned by Skelton, but the extent of their contribution to the final film has not been determined. The same news item reported that Mervyn LeRoy was interested in directing the film. A October 23, 1952 Hollywood Reporter news item stated that Robert Burton had been cast in the role of "Dr. Strauss." Fay Roope played the part in the film, however. The Clown is a remake of the 1931 M-G-M film The Champ (see AFI Catalog of Feature Films, 1931-40), which was directed by King Vidor and starred Wallace Beery as a washed-up boxer and Jackie Cooper as his son. Frances Marion and Leonard Praskins, who were credited with the story and adaptation of The Clown, wrote the earlier film.

Miscellaneous Notes

Released in United States Winter January 1953

Film is a remake of "The Champ," 1931.

Released in United States Winter January 1953