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 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
Olga Baclanova, later recalled the day when she was first introduced to the supporting cast, Tod Browning "shows me little by little and I could not look, I wanted to faint. I wanted to cry when I saw them. They have such nice faces... they are so poor, you know... he takes me and says, you know, 'Be brave, and don't faint like the first time I show you. You have to work with them.'... It was very, very difficult first time. Every night I felt that I am sick. Because I couldn't look at them. And then I was so sorry for them. That I just couldn't... it hurt me like a human being." 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 »
[whenever he asks only one of the two Siamese twins to stay, and the twins have to leave together]
You always use that as a excu-excuse, an alib-b-b-bi.
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It is ironic how director Tod Browning followed up "Dracula"--a horror film with painterly set design and a distinct atmosphere of unease--with a horror film more grounded in reality. Whereas the sets in "Dracula" were as skillfully rendered as the most elaborate of tapestries, the abstraction of "Freaks" comes from the title characters, who are at once hideous, wonderful, and all too human. Browning doesn't present these characters--who were actual sideshow performers--in an exploitative manner (though the long disclaimer that precedes the film is a definite reflection of his concern), but instead touches on a humility, modesty, and altruism that makes them as capable of expressing joy, sorrow, and vengeance as any 'normal' human being. And that's the overriding moral of "Freaks," wherein busty trapeze artist Cleopatra marries sensitive midget Hans only so she and her lunkheaded, strongman lover can make off with his inheritance. Granted, this plot has since become cliché, but to apply it to sideshow performers who are truly in their element 'under the big top' is something of a masterstroke...as it makes the 'normals' seem that much more out-of-place and unwelcome. (A complaint: as some of the dialog is difficult to decipher, it seems that the sound quality was either poorly recorded at the time or when it was transferred to video.)
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