Feature film examining the existence of films in which people are murdered on camera and the culture surrounding them. Through interviews with former FBI Profilers, Cultural Academics, and ... See full summary »
Paul von Stoetzel
Larry C. Brubaker,
In this action comedy, Jack Goldwater, an IRS agent on loan to the Federal Air Marshal Service, is relieved of field duty after insulting a powerful U.S. Senator, and finds himself exiled ... See full summary »
J. Neil Schulman
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
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 »
The shadow of the boom fall on Phroso's back when he and Venus are talking in the trailer, after her angry outburst at him. See more »
I was saying, tonight you must not smoke such a big cigar. Your voice was very bad at tonight's show.
Please, Frieda, don't tell me what I do. When I want a cigar, I smoke a cigar. I want no orders from a woman.
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'Freaks' is an extraordinary movie with a lot of heart.
I really dig 1930s horror movies. There's just something special about them that can never be recreated. A lot of it has to do with the talkies being new territory, many of the directors adapting German Expressionist techniques to Hollywood melodrama, and the freedom allowed before the Hayes Code really kicked in. Movies like 'Dracula', 'Frankenstein', 'Bride Of Frankenstein', 'Island Of Lost Souls', 'The Invisible Man' and 'White Zombie' are horror classics which still impress today. I wonder whether anyone will be watching the lame horror movies of today in seventy years for any other reason than some cheap laughs? Todd Browning made the transition from silent movies and directed the hugely successful 'Dracula' in 1931. It was a sensation and made Bela Lugosi a horror icon. Browning could pretty much do anything he chose after that. He chose to do 'Freaks'. Great for us as, not so great for him. The movie was universally reviled and even banned in some countries and his career never fully recovered. But 'Freaks' is an extraordinary movie with a lot of heart. It has faults, sure - some corny acting at times, and not so great production values - but it really doesn't matter. I don't know anyone who's seen it who hasn't been deeply affected by it. The reason the movie caused such a negative reaction back in the 1930s was because it used real circus performers including Zip the Pinhead and Radian "The Living Torso". Many people found this to be distasteful and exploitative, but the performers seemed to be glad to get the opportunity to work, and the whole crux of the movie is that the "freaks" are more decent than the "normal" Cleopatra (Olga Baclanova) , the trapeze artist who marries little person Hans (Harry Earls) for his money. 'Freaks' is still a very powerful and unique movie. It has inspired many creative people over the years from the Surrealists to The Ramones to Jodorowsky to David Lynch. 'Freaks' comes with my highest recommendation!
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