Before the release of ‘Freaks’ in 1932, director Tod Browning (1880-1962) had made silent features with Lon Chaney Sr. and of course, directed Bela Lugosi in 1931’s Dracula. He also had over fifty completed movies to his name. After the controversy and furore that surrounded ‘Freaks’, he directed only four. What could have possessed Browning to make such a bold cinematic statement that would have drastic results on what had been a lucrative career?
Inspired by a story written by Tod Robbins (1888-1949), (a Science Fiction, Horror and Fantasy writer who would later spend WW2 in a Nazi occupied concentration camp), Browning drew from his own experiences, having run away from home at 16 to join a travelling circus. This was the basis for his eventual ascent through Vaudeville and eventually, Hollywood.
Browning makes his feelings clear in the opening reel, praising the misshapen outsiders of the movie for their courage and strength in dealing with their afflictions, and the uncaring harshness of the regular world. The written introduction draws to a close with the mission statement:
‘With humility for the many injustices done to such people (they have no power to control their lot) we present the most startling horror story of the ABNORMAL and THE UNWANTED.’
A horror it most definitely is, but for reasons well beyond the aesthetic. Browning’s choice to cast actual sideshow employees, such as Johnny Eck and members of Germany’s The Doll Family, would be what audiences professed to find disgusting and in poor taste. It is Browning’s reflection of society’s attitude towards individuals of difference that really struck a nerve. The horror in this movie is a human horror, and it is more terrifying than any monster imaginable.
It begins with a Carnival hype man, who is telling the story of one particular exhibit, and we are cast back to the travelling show’s recent history. It is here where we first meet Hans (Harry Earles) who is engaged to Martina (Daisy Earles), two of the performances ‘little people’. Martina worries that Hans is starting to develop feelings for (regular sized) trapeze artist Cleopatra. From Hans’s smitten, forlorn gazes, this would appear to be the case.
Cleopatra is involved in a relationship with the circus strongman Hercules (again, one of the non afflicted cast members). Upon the revelation that Hans is in receipt of a considerable inheritance, Hercules and Cleopatra make a joint plan to weasel him out of it.
It is prominent throughout, that the ‘Freaks’ live by a very strict code of conduct and honour, which is far more than can be said for their average counterparts. The initiation scene, in which Cleopatra is accepted into their group, is possibly the most recognised and referenced in pop culture, but there is far more to this movie than one scene can surmise.
It is above all, a love story, but it is the twisted and devious ways of man, which make it a horror.
Freaks became notorious. The prologue was added post production and several scenes were heavily cut. One woman even sued MGM complaining that the movie had caused her to miscarriage. This led to the exclusion of a castration scene and its subsequent results. It also meant that an attack scene, included in the climax, was also almost completely eradicated. A happier ending was added too. None of these factors however, diminish the joy and pleasure that can be gained from this movie. It is a testament to Browning’s skills as a director and producer, that almost 80 years later, ‘Freaks’ stands strong through the references and parodies, leaving behind one of the most spectacular and genuinely shocking movies ever made. Although possibly not in the ways you might initially imagine.
