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The Greatest Showman (2017)

Celebrates the birth of show business and tells of a visionary who rose from nothing to create a spectacle that became a worldwide sensation.

The Greatest Showman (2017) Trailer

 

The Greatest Showman (2017) Reviews

“Without promotion, something terrible happens…nothing!” – attributed to Phineas Taylor Barnum

“The Greatest Showman,” directed with verve and panache by Michael Gracey, is an unabashed piece of pure entertainment, punctuated by 11 memorable songs composed by Oscar- and Tony-winning duo Benj Pasek and Justin Paul, who composed the songs for “La La Land,” as well as the current Broadway hit Dear Evan Hansen.

The film is made for the whole family to enjoy, and so it leaves out many of the darker elements (explored in the 1980 Broadway musical Barnum, music by Cy Coleman). This is a difficult tightrope to walk, but credit is due to Gracey, a perfectly cast Hugh Jackman, and the entire cast, who play this story in the spirit in which it was written (by Jenny Bicks and Bill Condon). “The Greatest Showman” positions itself as a story celebrating diversity, and the importance of embracing all kinds.

There are those who will see this as a rose-colored-glasses view of what was a pretty exploitive situation. But in a 19th and early 20th century context, the circus and then vaudeville were welcoming places where those who had skills or who were rejected by society could find a home. Barnum put “misfit toys” onstage, saying, in essence, “Aren’t they amazing?” (all while filling his pockets.

For more thoughts on P.T. Barnum’s barely acknowledged influence on American culture author Trav S.D.’s 2005 lecture at the Barnum Museum in Bridgeport, CT is a good place to start.) Cary Grant, who had a harsh poor childhood, got his start as a tumbler in a vaudeville troupe. Years later he described his revelatory first visit to the Bristol Hippodrome:

“The Saturday matinee was in full swing when I arrived backstage; and there I suddenly found my inarticulate self in a dazzling land of smiling, jostling people wearing and not wearing all sorts of costumes and doing all sorts of clever things. And that’s when I knew! What other life could there be but that of an actor? They happily traveled and toured. They were classless, cheerful, and carefree. They gaily laughed, lived, and loved.”

That’s what “The Greatest Showman” captures.

The film starts with the title song “The Greatest Show,” a show-stopper with repetitive thumping percussion (reminiscent of Queen’s ferocious “We Will Rock You”). Hugh Jackman—in red impresario’s coat and top hat—takes us on a dazzling tour, with cinematographer Seamus McGarvey keeping the movements fluid, and all the actions connected, plunging you into the center ring.

The whole number comes from the brazen heart of showbiz: Make it interesting! Give ’em something to look at! Make sure you reach the cheap seats! Barnum croons seductively, “Just surrender cuz you feel the feeling taking over!” I obeyed without reservation.

During the next number, “A Million Dreams” the young and poor Barnum (Ellis Rubin) befriends a well-bred little girl named Charity Hallett (Skylar Dunn), and they dream of creating their own destiny. This is the first time in “The Greatest Showman” where a character stops speaking and starts to sing instead; the segue is gracefully handled, setting up the artificial device early on.

If you don’t set up that trope with confidence, it makes it look like you’re embarrassed to be doing a musical. By the end of the song, the little boy has become Hugh Jackman and the little girl has become Michelle Williams, leaping and twirling across the rooftop of their tenement, bed sheets on the line billowing to the beat.

After struggling to establish himself, Barnum launches out on his own, creating a theatre in the heart of New York City. He gathers together people with special talents as well as those with physical abnormalities (a giant, a bearded lady, Siamese twins, a dwarf—who would eventually be known as General Tom Thumb, Barnum’s first “breakout star”). The “audition” sequence is extremely tricky, but the tone is set by Jackman’s inclusive delight at the parade of humanity before him. It’s a moment when ignored people are for the first time really seen.

Lettie Lutz, the “bearded lady,” played by Tony-nominee Keala Settle, with a powerhouse voice, is one of the first to come on board. Settle’s performance—her first major role onscreen—is one of the many keys to why “The Greatest Showman” is so effective. She understands the spirit of the project, and you watch her transformation from cringing shame to fearless Diva.

Her anthemic “This Is Me” is one of the emotional centers of the film. Barnum’s business partner is playwright and society boy Phillip Carlyle (Zac Efron), with snobby parents who are not only horrified at his “slumming,” but also at his romance with an African-American trapeze artist (Zendaya) who sports a pompadour of cotton-candy pink hair. Their love story, as presented, is tender, pained, and sweet.

Rebecca Ferguson plays Jenny Lind, the “Swedish Nightingale,” whom Barnum took on a whirlwind concert tour through America It was his entryway into “polite” society. Jenny Lind’s power ballad “Never Enough” makes you understand why Barnum, backstage, falls in love with her instantly, throwing his marriage into crisis. Ferguson may be lip-synching to Loren Allred’s breathtaking vocals, but it is her performance that carries.

Ashley Wallen choreographed the numbers and there are many innovative moments, where she uses the outer environment to inform the movements of the characters. In “The Other Side,” Barnum convinces a reticent Carlyle to join the circus, and as he sings, the bartender puts down shot glasses, swipes the bar with a cloth, all as accents to the beat.

The real standout, however, is “Rewrite the Stars,” the love song between Efron and Zendaya,taking place in the empty circus tent, when she flies on the trapeze far above him, and he tries to climb up the ropes to meet her. Up, down, they both go, sometimes coming together, dangling above the ground, or sweeping in a wide circle together around the periphery of the tent. It is a moment when the film—every element onscreen—merges and transforms into pure emotion. This is what a musical can do like no other artform.

One of the deep pleasures of “The Greatest Showman” is you don’t have to grade the singing and dancing on a curve, as was necessary with “La La Land” (or, further back, to “Chicago,” where quick cuts hid Richard Gere’s lack of tap dancing skills.) Hugh Jackman, with his powerful high baritone, got his start in musicals, performing in productions in Melbourne, and then in a hugely acclaimed revival of Oklahoma! in the West End.

He won a Tony Award for his performance as Peter Allen in The Boy From Oz and has hosted the Tony Awards three times. He is an old-fashioned triple-threat. Film fans may know him mainly as “Wolverine,” and there’s nothing wrong with that, but once upon a time a song-and-dance man like Hugh Jackman’s could sing and dance his way through mainstream Hollywood. He’s unleashed here.

So, too, is Zac Efron, who also got his start because he could sing and dance in the phenom that was “High School Musical.” His career has morphed into something rather unique, with titles like “Hairspray,” “Neighbors,” and a hilarious small part in this year’s “The Disaster Artist.”

He has something that cannot be manufactured, although many try, and that is old-school movie star charisma. Add to that a beautiful voice, plus dancing skills, plus a surprisingly ironic sense of humor, and he’s got the full package. It’s thrilling to see him in a big splashy musical. He’s very much at home.

Michelle Williams, with anachronistically long blonde hair, has a strong clear voice, and there’s something exhilarating about how she tosses herself into thin air, knowing Jackman will catch her. In what could be a thankless “wet blanket wife” part, Williams adds a spunky sense of adventure, showing us the kind of woman who would say “No” to a ladylike society-wife life, and fling herself into the unknown with her man.

The timing of this release is interesting. On May 21, 2017, Ringling Brothers and Barnum & Bailey Circus folded up its tent for good, after 146 years of uninterrupted operation. Rocked by controversy due to criticisms of exploitation and animal abuse, they retired the elephant acts in 2016, but it was too late. Barnum was dogged by criticisms from the beginning.

Many of the “acts” were fakes. Barnum actually didn’t say the quote most associated with him (“There’s a sucker born every minute”) but he might as well have said it and his critics despised him for the assumption about popular entertainment and the regular folk who enjoy it. But in the film, Barnum, with a dazzling smile, explains to a skeptical journalist, “People come to my show for the pleasure of being hoodwinked.”

I was hoodwinked by “The Greatest Showman.” And it was indeed a pleasure. Ringling Brothers may have closed up shop, but Barnum lives on.

  • Sheila O’Malley –  Roger Ebert
  • Sheila O’Malley received a BFA in Theatre from the University of Rhode Island and a Master’s in Acting from the Actors Studio MFA Program.

In style, if not substance, The Greatest Showman is reminiscent of the Disney film, Newsies. Like the 1992 live-action musical, The Greatest Showman comes to life when the characters are singing or dancing but struggles through the sequences in between.

The show-stopping numbers are well-choreographed and feature catchy tunes (courtesy of La La Land’s duo of Benj Pasek & Justin Paul) but the film’s dramatic arc, despite purportedly being “based on a true story”, is a string of clichés knitted together to tell an unremarkable story. Lead actor Hugh Jackman is charismatic and knows how to hold an audience’s attention during a musical sequence but this is far from his best performance.

Although The Greatest Showman claims to tell the tale of showman P.T. Barnum (Jackman), who leant his name to a circus during the 19th century, the narrative is as untrue and exaggerated as Barnum’s most outrageous falsifications. Also, in an attempt to be relevant, The Greatest Showman tries too hard to establish parallels between the misfits of Barnum’s troop and those suffering from discrimination in 2017 society.

As well-meaning as those thematic elements might be, they seem forced and largely ignore the underlying truth that Barnum was exploiting these people for personal gain. (The screenplay downplays this aspect, presenting the circus as a multi-cultural venue for self-empowerment.)

It’s astonishing how much more energy the musical numbers have than the purely dramatic sequences. This discrepancy highlights the film’s greatest strength but also represents its most apparent weakness. Every time Jackman or one of his co-stars starts to sing, you want to stay in your seat. Once the song is over, a bathroom break or visit to the snack bar seems appropriate.

The plot moves along a familiar trajectory. Barnum, the low-born son of a tailor, falls for a girl far above his station and, once he has made a little money (emphasis on little), he marries her. After working a series of conventional jobs to support his wife (Michelle Williams) and two daughters, Barnum takes a walk on the wild side and buys a museum.

When attendance is poor (there’s not a lot of interest in wax figures and the work of taxidermists), he replaces inert attractions with a show featuring human oddities: a bearded woman (Keala Settle), a dwarf (Sam Humphrey), a trapeze artist (Sendaya), and others of their ilk.

Barnum’s low-brow production becomes an overnight sensation and he recruits a partner, the younger and well-connected Philip Carlyle (Zac Efron), who arranges an audience with Queen Victoria. While in England, Barnum meets singer Jenny Lind (Rebecca Ferguson), the “Swedish Nightingale”, and convinces her to embark on a tour of the United States.

The predictable sweep of Barnum’s rise, fall, and resurrection prevents the movie from exploring any interesting or unexpected territory, so The Greatest Showman relies on two elements for its success: the songs, which are sufficiently contemporary to avoid alienating younger viewers (Pasek & Paul’s numbers are pop and hip-hop influenced), and Jackman’s reliable presence. The filmmakers aren’t discomfited by the anachronistic music and it proves to be The Greatest Showman’s most effective selling point.

The direct-to-the-screen movie musical (as opposed to the adapted play or remake) has been an endangered species for decades and the box office failure of Newsies back in 1992 nearly killed it. Its revival during the last couple of years with the songwriting of Pasek & Paul reminds us of how uplifting a well-executed screen musical sequence can be.

The Greatest Showman lacks the chops to compete against La La Land on a story level but it’s every bit as engaging (and perhaps even moreso) than the live-action re-imagining of Beauty & the Beast. It’s a family film whose infectious, crowd-pleasing song-and-dance numbers justify a 105-minute running length when the pedestrian story can’t.

  • A movie review by James Berardinelli

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The Greatest Showman (2017) Credits

The Greatest Showman movie poster

The Greatest Showman (2017)

Rated PG

139 minutes

Cast

Hugh Jackman as P.T. Barnum

Zac Efron as Phillip Carlyle

Michelle Williams as Charity Barnum

Rebecca Ferguson as Jenny Lind

Zendaya as Anne Wheeler

Fredric Lehne as Mr. Hallett

Yahya Abdul-Mateen II as WD Wheeler

Paul Sparks as James Gordon Bennett

Director

  • Michael Gracey

Screenplay

  • Jenny Bicks
  • Bill Condon

Music

  • Justin Paul
  • Benj Pasek

Cinematography

  • Seamus McGarvey

Editor

  • Joe Hutshing

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The Greatest Showman (2017) Plot

As a child, P. T. Barnum and his tailor father Philo work for the Hallett family. Barnum falls for the Halletts’ daughter Charity. When Charity attends finishing school, she and Barnum write to each other until reuniting as adults. They eventually marry and raise two daughters Caroline and Helen in New York City. They live a humble life; though Charity is happy, Barnum craves more.

Barnum loses his shipping clerk job when the company goes bankrupt, due to a typhoon that sank all the firm’s cargo vessels. He later secures a bank loan, deceptively using his former employer’s lost ships as “collateral”. He opens Barnum’s American Museum in downtown Manhattan which features various wax figures. Ticket sales are slow, so Caroline and Helen suggest showcasing something “alive”.

Barnum adds “freak” performers, such as bearded lady Lettie Lutz and dwarf man Charles Stratton. This garners higher attendance, but also protests and poor reviews from well-known critic James Gordon Bennett.

Barnum renames his venture, “Barnum’s Circus” and recruits playwright Phillip Carlyle to help generate publicity. Phillip is mesmerized by the African American trapeze artist, Anne Wheeler, but he hides his feelings. Phillip arranges for Barnum and his troupe to meet Queen Victoria.

Barnum persuades famed Swedish singer Jenny Lind to tour America, with him as her manager. Lind’s American debut is a success. During her song, Phillip’s parents see him and Anne holding hands. As Barnum gains favor with aristocratic patrons, he distances himself from his troupe, advising them to work without him. Dejected, they decide to stand against their local harassers.

When Phillip and Anne attend the theater together, they run into Phillip’s parents. They chastise him for “parading around with the help”. Phillip tries to convince Anne that they can be together, but she disagrees saying they will never be accepted socially.

As Barnum takes Lind on a U.S. tour, Charity, who stays home with the girls, feels isolated from her husband. While on tour, Lind becomes romantically attracted to Barnum. When he rebuffs her, she threatens to quit and later retaliates with a surprise kiss at the end of her last show, which is photographed by the press.

Barnum returns home to find his circus on fire, caused by a fight between protesters and the troupe. Phillip runs into the burning building to save Anne, not knowing that she has already escaped. He suffers serious injuries before Barnum rescues him. Bennett tells Barnum that the culprits have been caught and that Lind has cancelled her tour after Barnum’s “scandal”. Barnum’s mansion is foreclosed and Charity takes the girls to her parents’ home.

Devastated, Barnum retreats to a local bar. His troupe finds him there and say that despite their disappointments, they still consider themselves a family. Inspired, he resolves to build a new show and not let ambition rule him. Phillip awakens in a hospital with Anne by his side, while Barnum and Charity reconcile.

A recovering Phillip offers his share of the profits to help Barnum rebuild the circus in exchange for becoming a full partner, which Barnum readily accepts. To economize, Barnum transforms the enterprise into an open-air tent circus.

The revamped circus is a huge success and Barnum has Phillip take his place as the ringmaster so the former can spend more time with his family. Barnum leaves the circus early and arrives on an elephant to attend Caroline and Helen’s ballet recital.

The movie ends with a quote from P.T. Barnum that reads “The noblest art is that of making others happy”.

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The Greatest Showman (2017) Box office

The Greatest Showman spent 219 days in release, closing on July 26, 2018, having grossed $174.3 million in the United States and Canada, and $260.7 million in other territories, for a worldwide total of $435 million, against a production budget of $84 million. It is the third-highest-grossing musical ever in North America and also the third-highest globally, and Deadline Hollywood estimated the film would turn a profit of $50–100 million.

In the United States and Canada, The Greatest Showman was released alongside Jumanji: Welcome to the Jungle, and was projected to gross around $21 million from 3,006 theaters over its first six days. It took in $2.5 million on its first day and $2.1 million on its second. Over the three-day weekend, it grossed $9 million (for a six-day total of $19 million), finishing fourth at the box office, behind Star Wars: The Last JediJumanji: Welcome to the Jungle and Pitch Perfect 3.

In its second weekend, the film grossed $15.5 million, again finishing 4th at the box office.[42] The weekend-to-weekend increase of 76.3% marked the largest ever for a film playing in over 3,000 theaters, and the fourth biggest ever. In its third week, the film dropped 11% to $14 million. The film made $13 million in its fourth weekend and $11 million in its fifth, finishing 4th and 5th at the box office, respectively.

The film continued to hold well in its sixth week of release, grossing $9.5 million and returning to 4th place, and again finished fourth in its seventh week, this time grossing $7.8 million (a drop of just 18%). It is the 14th-highest-grossing film that never reached first place at the American box office.

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The Greatest Showman (2017) Critical Response

On review aggregator Rotten Tomatoes, 56% of 264 reviews are positive, and the average rating is 6/10. The website’s critical consensus reads, “The Greatest Showman tries hard to dazzle the audience with a Barnum-style sense of wonder—but at the expense of its complex subject’s far more intriguing real-life story.”

On Metacritic, the film has a weighted average score of 48 out of 100, based on reviews from 43 critics, indicating “mixed or average reviews”.  Audiences polled by CinemaScore gave the film an average grade of “A” on an A+ to F scale, while those at PostTrak gave it 4.5 out of 5 stars and a 70% “definite recommend”.

Owen Gleiberman of Variety gave the film a positive review, writing, “The Greatest Showman is a concoction, the kind of film where all the pieces click into place, yet at an hour and 45 minutes it flies by, and the link it draws between P. T. Barnum and the spirit of today is more than hype.”

Richard Roeper of the Chicago Sun-Times gave the film 3 out of 4 stars, saying, “With all that corn and cheese and old-timey sentiment, The Greatest Showman ends up scoring some very timely social arguments. P. T. Barnum himself would have approved the dramatic sleight of hand.” Steve Persall of Tampa Bay Times gave the film an ‘A’, and said, “The Greatest Showman is the feel-good movie the holiday season needs,” while William Bibbiani of IGN gave The Greatest Showman a score of 7.9 out of 10, and called the film, “wildly entertaining”.

Britton Peele of The Dallas Morning News said, “The story is interesting and the beats are well acted, but it’s the musical numbers that make The Greatest Showman.” Jackie K Cooper of HuffPost gave the film a score of 10/10 and wrote, “You will be overwhelmed by the music and magic that explode on the screen. The film has a message that should resonate with today’s world concerning acceptance and courage.” Hugh Armitage of Digital Spy said, “The Greatest Showman is a broad and solid crowd-pleaser. An undemanding spectacle for all the family.”

Alan Jones of the Radio Times called it “A joyously uplifting potpourri of visual resplendence, stylish choreography and solid gold magic, one engineered to approximate the lavish spectacle the movie musical once offered.”[59]

Sheila O’Malley of RogerEbert.com gave it 3.5 out of 4, stating “The Greatest Showman is an unabashed piece of pure entertainment punctuated by memorable songs.” James Berardinelli of ReelViews gave the film 3 out of 4, and said, “The film has show-stopping well-choreographed numbers with catchy tunes,”[61] and Calvin Wilson of the St. Louis Post-Dispatch called the film “highly enjoyable.” 

Carl Kozlowski of Pasadena Weekly gave the film an ‘A’, calling it “Groundbreaking & grandly innovative.”[63] Sean P. Means of The Salt Lake Tribune gave The Greatest Showman 3.5 out of 4, stating, “A strong cast give emotional power to this romanticized, tune-filled biography.”

Manuela Lazic of Little White Lies gave it 4 out of 5, saying, “The Greatest Showman deserves to become a Christmas classic. The film’s severe romanticism and ridiculous but affecting enthusiasm make it irresistibly life-affirming.” Pete Hammond of Deadline Hollywood gave the film 4 out of 5 stars and called it, “A fantasia of song and dance, a joyous exercise in pure entertainment that is made for the holiday crowd.” 

Conversely, Mick LaSalle of the San Francisco Chronicle gave the film a negative review, criticizing the songs and characters and saying “There’s idiotic, and there’s magnificent, but The Greatest Showman is that special thing that happens sometimes. It’s magnificently idiotic. It’s an awful mess, but it’s flashy.

The temptation is to cover your face and watch it through your fingers, because it’s so earnest and embarrassing and misguided—and yet it’s well made.” In a negative review for The Hollywood Reporter, David Rooney wrote “This ersatz portrait of American big-top tent impresario P. T. Barnum is all smoke and mirrors, no substance. It hammers pedestrian themes of family, friendship and inclusivity while neglecting the fundaments of character and story.” 

Writing for Rolling Stone, Peter Travers gave the film 1.5 out of 4 stars, saying, “How do you cast a virtuoso Hugh Jackman as P. T. Barnum, spare no expense in production values, add a score by Oscar and Tony winners Benj Pasek and Justin Paul and still end up with the shrill blast of nothing that is The Greatest Showman? Ask first-time director Michael Gracey, who cut his teeth on commercials and music videos without ever mastering the crucial knack of building snippets of musical comedy and drama into a satisfying whole.”

Justin Chang of the Los Angeles Times wrote that the film’s failures “are rooted in something deeper: a dispiriting lack of faith in the audience’s intelligence, and a dawning awareness of its own aesthetic hypocrisy. You’ve rarely seen a more straight-laced musical about the joys of letting your freak flag fly.” 

Rhoda Roberts, arts director of the Sydney Opera House, criticized the film for failing to address that Barnum coerced and kidnapped native peoples to perform in human zoos as a form of entertainment.

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The Greatest Showman (2017) Accolades

 

Award Date of ceremony Category Nominee(s) Result Ref.
AARP Movies for Grownups Awards February 5, 2018 Best Grownup Love Story The Greatest Showman Won [80][81]
Academy Awards March 4, 2018 Best Original Song “This Is Me” – Benj Pasek and Justin Paul Nominated [82][83]
American Music Awards October 9, 2018 Favorite Soundtrack The Greatest Showman Nominated [84]
Billboard Music Awards May 20, 2018 Top Soundtrack The Greatest Showman: Original Motion Picture Soundtrack Nominated [85]
Billboard Music Awards May 1, 2019 Top Soundtrack The Greatest Showman: Original Motion Picture Soundtrack Won [86]
Casting Society of America January 18, 2018 Big Budget – Comedy Bernard Telsey, Tiffany Little Canfield, Rori Bergman and Patrick Goodwin Won [87]
Costume Designers Guild February 20, 2018 Excellence in Period Film Ellen Mirojnick Nominated [88]
Critics’ Choice Movie Awards January 11, 2018 Best Song “This Is Me” – Benj Pasek and Justin Paul Nominated [89]
Dorian Awards February 24, 2018 Campy Flick of the Year The Greatest Showman Nominated [90]
[91]
Empire Awards March 18, 2018 Best Costume Design The Greatest Showman Nominated [92]
[93]
Best Make-up And Hairstyling The Greatest Showman Nominated
Georgia Film Critics Association January 12, 2018 Best Original Song “This Is Me” – Benj Pasek and Justin Paul Nominated [94]
Golden Globe Awards January 7, 2018 Best Actor in a Motion Picture – Musical or Comedy Hugh Jackman Nominated [95]
Best Motion Picture – Musical or Comedy The Greatest Showman Nominated
Best Original Song – Motion Picture “This Is Me” – Benj Pasek and Justin Paul Won
Golden Reel Awards February 18, 2018 Outstanding Achievement in Sound Editing – Musical Jen Monnar, Jim Harrison, Jeff Carson, Peter Myles and Sheri Ozeki Won [96]
Grammy Awards February 10, 2019 Best Compilation Soundtrack for Visual Media The Greatest Showman: Original Motion Picture Soundtrack Won [97]
Best Song Written for Visual Media “This Is Me” – Benj Pasek and Justin Paul Nominated
Guild of Music Supervisors Awards February 8, 2018 Best Music Supervision for Film: Budgeted Over 25 Million Dollars Benj Pasek and Justin Paul Nominated [98]
Best Song/Recording Created for a Film “This Is Me” – Benj Pasek and Justin Paul Nominated
Heartland Film Festival December 31, 2017 Truly Moving Picture Award Michael Gracey Won [99]
Kids’ Choice Awards March 24, 2018 Favorite Movie The Greatest Showman Nominated [100]
Favorite Movie Actress Zendaya Won
Make-Up Artists and Hair Stylists Guild February 24, 2018 Feature Motion Picture: Best Period and/or Character Makeup Nicki Ledermann, Tania Ribalow and Sunday Englis Nominated [101]
Saturn Awards June 27, 2018 Best Action or Adventure Film The Greatest Showman Won [102][103]
Best Costume Design Ellen Mirojnick Nominated
Best Music John Debney and Joseph Trapanese Nominated
Teen Choice Awards August 12, 2018 Choice Breakout Movie Star Keala Settle Nominated [104]
Choice Collaboration “Rewrite the Stars” – Zac Efron and Zendaya Won
Choice Drama Movie The Greatest Showman Won
Choice Drama Movie Actor Zac Efron Won
Hugh Jackman Nominated
Choice Drama Movie Actress Zendaya Won
Choice Liplock Zac Efron and Zendaya Nominated
Choice Movie Ship Zac Efron and Zendaya Won
Choice Pop Song “This Is Me” – Keala Settle Nominated

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The Greatest Showman (2017) Movie Info

Growing up in the early 1800s, P.T. Barnum displays a natural talent for publicity and promotion, selling lottery tickets by age 12. After trying his hands at various jobs, P.T. turns to show business to indulge his limitless imagination, rising from nothing to create the Barnum & Bailey circus. Featuring catchy musical numbers, exotic performers and daring acrobatic feats, Barnum’s mesmerizing spectacle soon takes the world by storm to become the greatest show on Earth.

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