These days the circus is, for better or worse, an exotic and marginal form of entertainment. By contrast, it was a major form of popular entertainment in the United States and Europe in the 19th Century and well into the 20th. Elephants were central to the entertainment. As Janet Davis noted in an article about Ringling Brothers’s decision to retire their elephant acts:
Audiences spoke solemnly of “seeing the elephant” as an awe-inspiring encounter with a wondrous being. Others, who missed her appearances, pined for an opportunity to “see the elephant.” Soldiers during the Mexican-American War and Civil War even spoke of “seeing the elephant” as a metaphor for the incomprehensible experience of battle.
The sensational popularity of the Crowninshield Elephant led the way for others. The first elephant appeared in an American circus at the turn of the 19th century, and by the 1870s, impresarios defined their shows’ worth by the number of elephants they had. In response to decades of evangelical censure for displaying scantily clad human performers, circus owners pointed to their popular elephants as proof of their broader mission to educate and entertain.
With the advent of moving picture in the 20th Century the circus film became a minor genre. Charlie Chaplin made one, the Marx Brothers made two, Charlie Chan did a circus film, and Tod Browning’s Freaks is one of the greatest horror films ever made.
Disney too made a circus film, Dumbo, released in 1941, and it centers on a baby elephant whose extraordinarily large ears made him, and his mother, pariahs in the closed community of the circus’s animal menagerie. The circus’s association with small-town America played to Uncle Walt’s nostalgic streak. And the comfortable exoticism of the elephants is dead center in the weakest aspect of the Disney sensibility.
Yet in some ways Disney chose to play against his carefully cultivated small-town sensibility. Dumbo exploits the circus setting in ironic ways that are not characteristic of other Disney films, before or since. In the first place, this circus is not depicted as a source of wondrous entertainment. It is depicted as a place of hard work done by bored and cynical animals, avaricious and cruel clowns, and a megalomaniacal ringmaster. Dumbo himself is treated rather cruelly by vicious and snobbish matrons. This circus is not at all the Magic Kingdom of Disney’s TV series and theme parks. Rather, it is a biting depiction of mid-century America.
