In a modern retelling of Tod Browning's "Freaks" (1932), "Freakshow" tells the story of a group of criminals who chose to hide out by working security at a traveling circus. At first, they ... See full summary »
Prizefighter Mason loses his opening fight so wife Rose leaves him for Hollywood. Without her around Mason trains and starts winning. Rose comes back and wants Mason to dump his manager Regan and replace him with her secret lover Lewis.
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
"We'll Make Her One of Us!" from the gibbering mouths of these weird creatures came this frenzied cry... no wonder she cringed in horror... this beautiful woman who dared toy with the love of one of them! See more »
According to one source, director Tod Browning was introduced to the story by Cedric Gibbons, longtime head of MGM's Art Department. He was supposedly boyhood friends with author Clarence Aaron 'Tod' Robbins and convinced the studio to purchase film rights for the sum of $8,000. Another source claims that the diminutive actor Harry Earles gave Browning a copy of the story during the production of The Unholy Three (1925) in hopes that he could star in the adaptation. 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 »
Dummkopf! What have you on your shoulders for heads? Swiss cheese?
See more »
The subject of human disability is still a taboo subject in Cinema, even over 70 years since this film's release.
It's difficult to imagine what impact this film would have had in the 1930's, but as it still has the ability to shock ( through the images of bodily deformity ) I can understand why many shunned and disowned this work, and why it totally ruined Todd Browning's film career.
The basic premise - that beauty is more than skin deep - can appear to be wielded with a sledgehammer, but perhaps the contemporary audience needed to be hit harder in order to make them understand the point.
The film is short ( due to enforced cuts ), and at times can move rather slowly and can appear rather 'stagey' which is a trait of many films from the 20's / 30's.
But don't let that put you off. The plot is simple, but it's the telling of the story rather than the story itself that is important. And you really do need to remind yourself that these are real people - not actors - and this was the live they led.
I rate it 9 outa 10 because they really don't make them like this any more.
41 of 49 people found this review helpful.
Was this review helpful to you?