Banned in most countries for over three decades, this is one of the most bizarre and fascinating films Hollywood ever produced. Basically a soap-opera set in a side-show, it is a look into the lives of a group of sideshow performers in a traveling circus.
In the beginning of the film, we meet Cleopatra (Baclanova), a beautiful but avaricious trapeze artist who seduces and marries midget circus owner Hans (Earles) to get at his money. At the wedding reception, the close-knit society of freaks welcomes her into the family as "one of us, one of us." Cleopatra is disgusted however by this very thought and tells them she will never be grotesque, while her secret lover, Hercules the strongman, howls with laughter. She humiliates her smitten husband by openly kissing Hercules. After they find out they tried to poison Hans, the group comes up with an idea to take revenge at the beautiful trapeze artist and her strongman lover.
Tod Browning (DRACULA, THE UNHOLY THREE) put his career on the line with the making of this film. MGM, trying to compete with Universal, and cash in on the new appetite for horror films in the early thirties, never knew what hit them with this film. It caused quite a stir and such an amount of negative publicity they decided to virtually disown it and until the '60s it remained practically unseen. The fact that infamous bad film maker Dwain Esper (REEFER MADNESS, MANIAC, see my earlier review), showed the film in road shows and burlesque houses, only enhanced the film's notorious cult reputation.
Even today many scour away from seeing this film because of its supposed voyeurism. It might be seen as a very disturbing and ugly film, but at the same time a beautiful and ultimately a moving account of the shortcomings and prejudice of mankind. Most people didn't get it and many thought of it as a new low in Hollywood depravity and were horrified with the film. In truth it's a very warm and humane look at how physically deformed people manage on their own, and a fascinating insight in the world of side-show performers, a milieu Browning (a former "snake man" in the circus himself) was very familiar with. Not an outstanding film in terms of cinematic qualities, but because of the completely unique subject matter and the almost documentary like approach to the phenomenon of the side show, whilst using actual freaks, a term that didn't have the same connotation as today.
In 1994 the film was selected for the National Film Registry's archive of cinematic treasures. Rightfully so, not only because it's a unique piece of cinema but historically one the very few cinematic accounts left on attitudes towards disabled persons. Even today, the reluctance by most people to even admit this film's very existence, only exemplifies how many misunderstandings about people that are not "normal", still exist.
The recent DVD-release comes with the excellent documentary "Freaks: Sideshow Cinema."
Camera Obscura --- 9/10
In the beginning of the film, we meet Cleopatra (Baclanova), a beautiful but avaricious trapeze artist who seduces and marries midget circus owner Hans (Earles) to get at his money. At the wedding reception, the close-knit society of freaks welcomes her into the family as "one of us, one of us." Cleopatra is disgusted however by this very thought and tells them she will never be grotesque, while her secret lover, Hercules the strongman, howls with laughter. She humiliates her smitten husband by openly kissing Hercules. After they find out they tried to poison Hans, the group comes up with an idea to take revenge at the beautiful trapeze artist and her strongman lover.
Tod Browning (DRACULA, THE UNHOLY THREE) put his career on the line with the making of this film. MGM, trying to compete with Universal, and cash in on the new appetite for horror films in the early thirties, never knew what hit them with this film. It caused quite a stir and such an amount of negative publicity they decided to virtually disown it and until the '60s it remained practically unseen. The fact that infamous bad film maker Dwain Esper (REEFER MADNESS, MANIAC, see my earlier review), showed the film in road shows and burlesque houses, only enhanced the film's notorious cult reputation.
Even today many scour away from seeing this film because of its supposed voyeurism. It might be seen as a very disturbing and ugly film, but at the same time a beautiful and ultimately a moving account of the shortcomings and prejudice of mankind. Most people didn't get it and many thought of it as a new low in Hollywood depravity and were horrified with the film. In truth it's a very warm and humane look at how physically deformed people manage on their own, and a fascinating insight in the world of side-show performers, a milieu Browning (a former "snake man" in the circus himself) was very familiar with. Not an outstanding film in terms of cinematic qualities, but because of the completely unique subject matter and the almost documentary like approach to the phenomenon of the side show, whilst using actual freaks, a term that didn't have the same connotation as today.
In 1994 the film was selected for the National Film Registry's archive of cinematic treasures. Rightfully so, not only because it's a unique piece of cinema but historically one the very few cinematic accounts left on attitudes towards disabled persons. Even today, the reluctance by most people to even admit this film's very existence, only exemplifies how many misunderstandings about people that are not "normal", still exist.
The recent DVD-release comes with the excellent documentary "Freaks: Sideshow Cinema."
Camera Obscura --- 9/10