Freaks – 1932
Director – Tod Browning
Starring – Wallace Ford, Leila Hyams, and Harry Earles
Traditionally in most movies, especially within Hollywood, the portrayal of a group of people with extreme differences (read: Freaks), is usually done in one of two ways. Either they are depicted as terrible abominations not capable of human compassion and understanding, or they are misunderstood and extricated by the so-called decent “normal” people of the story. One paints a portrait of fear, desperation, and anger, and the other, one of an almost saintly devotion to decency, virtue, and humility.
Tod Browning’s appropriately titled film, Freaks, utilizes both the fear and the somewhat more humanistic approach to paint these rather misunderstood characters in a much more three-dimensional way. Each of the so-called freaks operates on the same instincts and motivations that any of the other characters might, rather than being simple plot modifiers and footnotes. Jealousy, anger, love, friendship, and loyalty not to mention a good old desire for revenge all come into play in this rather straight forward, yet effective story.
For a film that does seek to humanize it’s characters regardless of their disabilities or handicaps, it also tends to overly rely on the circus sideshow type shock factor of it’s stars. Even the film’s poster asks “Can a full-grown woman truly love a midget?”, and while the plot of the film makes a bit more headway in making them relatable, it certainly doesn’t forego the sensational nature of the subject matter entirely.
The story is simple enough. Hans a man of diminutive proportions (or a midget), has fallen in love with Cleopatra, the beautiful trapeze artist who is more than happy to lead him on, all the while plotting just how to get his forthcoming inheritance Cleopatra’s thinly veiled disdain is clear to all the rest of the circus’ performers, freaks and normies alike, but despite their objections Hans refuses to see her for what she is and asks her to marry him. In the spirit of giving her the benefit of the doubt, the “freaks” hold a dinner officially welcoming her into their private circle of friends. When Cleopatra drunkenly laughs at and tells this close-knit group just exactly what she thinks of them (negative stuff!), they hatch a plan to take their revenge.
The acting, plotting, and cinematography on display here is all fairly standard for the time, with nothing extraordinary on display. The difference, and what sets this film apart, comes in the realization of the characters, and the juxtaposition of their visible flaws with the internal flaws of the vain shallow “beautiful” people. Though that doesn’t remove their desire for fair and equitable treatment.
It’s not that the ending, or the actions taken by the “freaks” was too shocking, or unwarranted, quite the contrary actually. It was just odd to see from a film that came out in the time frame that this film does. Once again, like His Girl Friday, Detour, and She Done Him Wrong, I find my conceptions of what to expect content-wise from films of the 30’s and 40’s can be drastically different from what I get. At this point I don’t think I can pre-judge any of the films from that rather tumultuous time frame in America’s history.
Often times I forget that these years aren’t as homogenized as early television, and some popular films would have us believe. For every Jimmy Stewart-esque character, or idyllic suburban homestead on display, there are hundreds of characters who lived through the great depression, watched the buildup to and the active fighting of World War II, and eventually had to deal with the financial and emotional effects of both.
The means and method by which our “freaks” take their revenge may be harsh and more than a little cold-blooded, but you’ll have to admit, it is overwhelmingly fair at the same time, and it rather accurately paints them as, well, people.
The most unsettling images in the film come out of the last reel of the movie, where Cleopatra is dragging herself backwards through the rain and mud while upwards of fifteen different attackers stalk closer, each with a knife, gun, or blunt instrument. In the end, it’s really a toss-up whether or not the audience will consider it a happy ending. Thanks to the care taken in the writing and the time spent getting to know each character, I did.
Though it wasn’t my absolute favorite film on this list so far, it is solidly somewhere in the middle, and as such is pretty deserving of its ranking as one of the 1001 films you should see. Though I think director Tod Browning’s film Dracula is my favorite between the two, Freaks is a really solid film and totally worth checking out!
“In the end, aren’t we all freaks?” – Ashley