During a secretive business trip away, Mark learns that his wife Anna is growing restless in what he believed was their happy marriage. Upon his return home, he learns from her that she ... See full summary »
A young couple move into a new apartment, only to be surrounded by peculiar neighbors and occurrences. When the wife becomes mysteriously pregnant, paranoia over the safety of her unborn child begins controlling her life.
A circus trapeze artist, Cleopatra, takes an interest in Hans, a midget who works in the circus sideshow. Her interest however is in the money Hans will be inheriting and she is actually carrying on an affair with another circus performer, Hercules. Hans's fiancée does her best to convince him that he is being used but to no avail. At their wedding party, a drunken Cleopatra tells the sideshow freaks just what she thinks of them. Together, the freaks decide to make her one of their own. Written by
Samuel Marx, head of MGM's Story Department, recalled with peculiar pride, "And so, Harry Rapf, who was a great moral figure, got a bunch of us together and we went in and complained to Irving [Irving Thalberg] about 'Freaks'. And he laughed at that. He said, 'You know, we're making all kinds of movies. Forget it. I'm going to make the picture. Tod Browning's a fine director. He knows what he's doing.' And the picture was made." But the lunchroom protests didn't end. As a result, a makeshift table was constructed and the cast of "Freaks" (with the exception of Harry Earles and Daisy Earles, Violet Hilton and Daisy Hilton, and the more "normal" cast-members) were forced to eat their meals outdoors. See more »
During the scene in which Hans' friends menace Cleopatra in the wagon, the flute soundtrack doesn't match the finger movements of the dwarf playing the flute. See more »
Don't let people convince you that "Freaks" is a horror movie, because it isn't. It's actually a quite sad and sympathetic look at the way abnormalities were treated in the early part of the 20th century, and has direct parallels to the obsession with physical perfection causing eating disorders today. Tod Browning of course asks us to consider who are the bigger freaks: those with deformed bodies or those with deformed souls? The two "normal" people who are out to cheat and steal are monstrous, whereas the freaks are quite likable and charming. The ending is disturbing to be sure, but it's hard to condemn the freaks for acts that seem largely justified.
Is it a coincidence that in several shots showing Cleopatra reclining on a sofa, she appears to be deformed herself (in one shot it looks as if she has no legs). Has anybody else noticed this? "Freaks" was obviously way ahead of its time. There's a very interesting documentary on the DVD about its reception in 1932; it bombed and pretty much ruined Browning's career. Thank God that the general public is not allowed to be the final arbiter of a film's value. Think how many priceless films we would have lost by now if that were the case.
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