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Freaks (1932)

Not Rated | | Drama, Horror | 20 February 1932 (USA)
A circus' beautiful trapeze artist agrees to marry the leader of side-show performers, but his deformed friends discover she is only marrying him for his inheritance.

Director:

Tod Browning

Writers:

Clarence Aaron 'Tod' Robbins (suggested by story: "Spurs") (as Tod Robbins), Willis Goldbeck (screenplay) | 1 more credit »
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Cast

Cast overview, first billed only:
Wallace Ford ... Phroso
Leila Hyams ... Venus
Olga Baclanova ... Cleopatra
Roscoe Ates ... Roscoe (as Rosco Ates)
Henry Victor ... Hercules
Harry Earles ... Hans
Daisy Earles Daisy Earles ... Frieda
Rose Dione Rose Dione ... Madame Tetrallini
Daisy Hilton Daisy Hilton ... Siamese Twin
Violet Hilton Violet Hilton ... Siamese Twin
Schlitze Schlitze ... Himself
Josephine Joseph ... Half Woman-Half Man
Johnny Eck Johnny Eck ... Half Boy
Frances O'Connor Frances O'Connor ... Armless Girl
Peter Robinson ... Human Skeleton
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Storyline

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 garykmcd

Plot Summary | Add Synopsis

Taglines:

The Strangest... The Most Startling Human Story Ever Screened... Are You Afraid To Believe What Your Eyes See? See more »

Genres:

Drama | Horror

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English | German | French

Release Date:

20 February 1932 (USA) See more »

Also Known As:

Forbidden Love See more »

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Box Office

Budget:

$310,607 (estimated)
See more on IMDbPro »

Company Credits

Production Co:

Metro-Goldwyn-Mayer (MGM) See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Tod Browning's only onscreen credit is on the title page: "Tod Browning's Freaks," which is interpreted as the director credit. He is not in studio records as a producer. See more »

Goofs

In the first shot after the "Wedding Feast" title card, we see Violet Hilton & Daisy Hilton playing soprano saxophones, but we only hear a harmonica being played. See more »

Quotes

Hans: She is the most beautiful big woman, I have ever seen.
See more »

Alternate Versions

Reissue prints included a two-and-a-half minute written prologue about historical interpretations and contemporary studies of "misshapen misfits." These same prints remove the MGM Lion (the studio having disowned the film for many years). See more »

Connections

Referenced in Arizona Dream (1993) See more »

Soundtracks

Dancing Dolls
(uncredited)
Music by Julius Seredy
See more »

Frequently Asked Questions

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User Reviews

 
hideously beautiful
18 September 2005 | by Jonny_NumbSee all my reviews

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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