I like the storyline of this show,it attract me so much

That was an excellent one.

Just perfect...

good back-story, and good acting

Associate producer: Norman Priggen. Producers: Julian Wintle, Leslie Parkyn. A Lynx Films/Independent Artists Production, released in the U.K. by Anglo Amalgamated: 26 June 1960; in Australia by British Empire Films: 19 May 1961; in the U.S.A. by American International: 1 September 1960. Sydney release at The Victory. New York opening at neighborhood theaters: 31 August 1960. Registered: April 1960. "X" certificate. 8,234 feet. 91 minutes. Australian release title: "Phantom of the Circus".SYNOPSIS: A series of unfortunate and terrible accidents have made the Continental police interested in Schuler's circus, but they are never able to prove anything against him.COMMENT: One of the best of the Hammer horrors. The plot is ingenious and well developed. If the dialogue seems a little flat, this is scarcely noticeable because the pace moves so fast. Direction is unobtrusive yet remarkably skillful. The players are more than capable, the girls are most attractive, and the color photography is richly dramatic. (Available on an adequate Optimum, or excellent Anchor Bay DVD).OTHER VIEWS: Anglo Amalgamated's Circus of Horrors is lavishly mounted, richly produced and dramatically directed in exquisite Eastman Colour. In Circus of Horrors, menace and romance fly on the high trapeze, danger and deceit, murder and love grotesquely hide behind a clown's hilarious make-up and a mad surgeon's scalpel, crosses swords with a knife-thrower's deadly arm, while ugliness trades places with beauty.Anton Diffring, magnificent in the main role, plays the role of a mad surgeon who gains control of a derelict circus and builds it into one of the finest in Europe. Unscrupulousness and his mania for beauty prove his undoing. — Anglo Amalgamated Publicity.

Horror films set in circuses were popular in the '60s (check out BERSERK! and CIRCUS OF FEAR) but this film was the original classic that started them off. It's a gently unassuming film, with a leisurely pace, which takes its time before revealing the various plot strands which all come together in the exciting conclusion. Therefore, there's a lot of time for characterisation, something which rarely occurs in horror films these days, and this slow pace makes the film all the more interesting and entertaining, and the conclusion is all better because of it.Good use is made of the circus setting, with the various dangerous stunts providing some real tension, especially in the hangman's noose trick where we know the woman will die. Anton Diffring steals the show as the ruthless and evil surgeon, his cold, calculated charm being perfect for the role, and he is ably assisted by a cast of good performers which includes Donald Pleasance in a small role as a drunk, and the glamorous Yvonne Monlaur, star of that other horror flick from 1960, Hammer's The Brides of Dracula. Conrad Phillips is a dependable hero type, Kenneth Griffith a delightful henchman, and Yvonne Romain a buxom beauty.There are lots of women stripping off for the camera and canoodling (pretty racy for the time) and a gore scene, where a woman gets a knife in her neck, which is also pretty bloody. The circus music, including the classic Liberty Bell theme familiar to any viewer, becomes haunting, which only adds to the combination. All of these factors make CIRCUS OF HORRORS a truly fascinating, compelling horror film which will stand up to repeated viewing.

A cult classic with Anton Diffring, outrageous Donald Pleasance, and a weirdly sexy Kenneth Griffith. Oh, and a gaggle of scantily clad babes.It's surprisingly lurid for 1959/60 -- and yet in a sanguine manner only a '60s films could achieve.Diffring plays an excruciatingly unethical plastic surgeon on the run throughout Europe, hiding behind his traveling carnival of death as a front.Oh, and that song! The movie is everything Joan Crawford's later BERSERK should have been. In fact, I tend to combine both movies in my head into one magnificently rococo, downmarket picture. Which totally works for me.

Too bad the movie's lavish costuming and candy box colors are coupled with a darn near incomprehensible script. But for the guys, who cares, since almost every shot includes a lovely bare leg or a plunging neckline. No, this exercise in tepid Grand Guignol was not made for the Shakespeare crowd or even for those who read lips. After all, it's 1960, and the producers are pushing the sex envelope about as far as they can, since what better guarantee of big returns than a healthy dose of titillation supplied here in spades.The story is something about our usual mad scientist, only this one (Diffring) is a mad plastic surgeon, of all things, (the scriptwriter must live in Beverly Hills). The loopy doc reconstructs beautiful faces of criminal women and then blackmails them into working in his two-bit circus-- seems entry level requirements of circus acts has slipped to near-zero. However, the real trouble is that those who insist on quitting do get severance pay, but of a more literal kind than expected, which of course eventually brings in the cops. I think I've got things right, but frankly I was more interested in the parade of pulchritude than in a fractured storyline. One thing about this campy exercise—Diffring's got the best nose since the great Basil Rathbone cleaved a side of ham with his.