Freaks

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DanTheMan 2 Despite its eleventh-hour butchering by Irving Thalberg, Tod Browning's Freaks does everything in its power to create a sense of community, offering a surprising tenderness and mingling with moments that seem superficial. Still, by the end of the film, one begins to catch their mood, a calm, cold combination of guignol and eerily matter-of-fact. Part of the film's brilliance lies in the fact that the lines between normal and abnormal, us and them, and even morality and immorality, are constantly blurred and reversed. If there are "freaks" on display here, they are not the versatile performers to whom the title seems to allude. Its status as a horror film is dubious at best; a holdover from its contemporary release and disgusting reception, it's more of a character study than anything else. While it does contain some rather horrifying sequences, the film's heart lies in its respect and empathy for such a marginalised group. A genuine rarity about all that is both ugly and beautiful about being human. Something which tragically seemed to have cost Browning his reputation in the process, effectively ending his career. It's disheartening if not at all surprising, given this was an extremely daring and ultimately transgressive film released to an audience from the early 1930s. Combined with Browning's beautifully sympathetic direction and the utterly heart-wrenching performances of Harry Earles and Daisy Earles, Freaks may be one of the most compassionate movies ever made, enough to bring a tear to the eye. Rated 4/5 Stars •  Rated 4 out of 5 stars 10/03/25 Full Review Tonatiuh C Tengo la impresión que Freaks es una referencia de culto para los directores de culto, la iconográfía no debería sorprenderme ya con ese status debería haber sido replicada muchas veces en películas, videos musicales e imágenes de todo tipo, el desarrollo de la película es hasta cierto punto aburrido ya que es un poco convencional (para nuestros tiempos), encuadres muy sencillos y el desarrollo de un drama más o menos convencional sólo que con fenómenos de circo hasta que llegan las escenas finales y se nota la diferencia de producción en los efectos de sonido, la posición de la cámara, los planos son más detallados, la escena más memorable para mi fué una que definitivamente fué homenajeada por… Toy Story, mi yo niño habría quedado impactado por la escena final. Rated 4.5/5 Stars •  Rated 4.5 out of 5 stars 09/03/25 Full Review Zeferino P. It wasn’t what I would consider Horror It wasn’t bad It just wasn’t my cup of tea Rated 1.5/5 Stars •  Rated 1.5 out of 5 stars 08/13/25 Full Review Arid S I thought it was ok, plot was not the most entertaining, less about 'freaks' more about some annoying drama. Rated 3/5 Stars •  Rated 3 out of 5 stars 09/08/25 Full Review Stephen C 1 hour and 4 minutes is too short!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Rated 0.5/5 Stars •  Rated 0.5 out of 5 stars 07/04/25 Full Review Diego M Freaks (1932), directed by Tod Browning, is a unique blend of drama and horror based on Tod Robbins's short story Spurs. The film stars Harry Earles as Hans, a man with dwarfism who inherits a fortune, and Olga Baclanova as Cleopatra, a trapeze artist who manipulates him for his wealth. Other notable cast members include Daisy Earles as Frieda, a fellow dwarf in love with Hans, and Henry Victor as Hercules, Cleopatra’s lover. The film features real-life sideshow performers, adding authenticity to its portrayal of a tightly-knit circus community. Set primarily in the circus, the story follows Cleopatra's cruel scheme to marry Hans, poison him, and claim his inheritance. Despite Frieda’s warnings, Hans falls victim to Cleopatra's charms, only to discover her true intentions. The freaks unite to exact vengeance on Cleopatra and Hercules, culminating in a chilling climax where Cleopatra is transformed into the grotesque “human duck” seen at the film's beginning. The cinematography is dynamic, employing tracking shots and close-ups that heighten tension and drama. The wedding scene, where Cleopatra mocks the freaks, stands out with its striking use of camera angles to convey both the humiliation of Hans and the ominous unity of the freaks. The film’s setting contrasts the grimy circus with Hans’s luxurious apartment, underscoring the disparity in the characters’ worlds. Freaks elicits deep sympathy for its titular characters, portraying them as kind and loyal while casting Cleopatra and Hercules as true villains. However, the freaks’ vengeful transformation challenges this sympathy, creating a sense of unease. Browning’s depiction raises questions about the consequences of oppression and the capacity for revenge. While Freaks could be viewed as a drama, its intent to evoke fear firmly places it in the horror genre. The psychological tension surrounding the freaks’ retaliation is its most unsettling aspect. Though less visceral by modern standards, Freaks remains a haunting and thought-provoking film, blending empathy and horror to powerful effect. Rated 4/5 Stars •  Rated 4 out of 5 stars 01/03/25 Full Review Read all reviews

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