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
In the United States, this film was banned in a number of states and cities. Although no longer enforced, some of the laws were never officially repealed. Therefore, it is still technically illegal for this film to be shown some areas of the USA. 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 »
Dummkopf! What have you on your shoulders for heads? Swiss cheese?
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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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