FREAKS is one of those historical rarities that merits attention on several levels. Yes, its subject matter is sensational, but I think it stands fairly well as an example of early talkies, too.
While I was aware of the notoriety of this film for some time, I was not aware of its pedigree. One might think the film might have been thrown together as some kind of exploitative quickie, but its production involved Hollywood legends like Lon Cheney Sr (it was originally conceived as a vehicle for him) and Irving Thalberg.
The film was mired in controversy from the beginning, and this adds to the fascination. Many, many edits were demanded from the studio, particularly after test screenings (the DVD shows a few different edits of the ending in its nice little documentary). Apparently, about 30 minutes wound up being cut, and I can't help but think that if an original cut could somehow be found it would uncover a significant piece of cinematic history.
While the story is pure melodrama, and not terribly important, the "freaks" themselves (they did not see the word as a pejorative term, by the way) are fascinating in their complete normalcy. The film treats them quite affectionately, with only a few scenes that could be considered gratuitous.
Another fascinating element of FREAKS is as an artifact of its time. The sound is awkward, because director Tod Browning still hadn't mastered talkies (a Hollywood veteran of dozens of films, Browning would only make three more films after FREAKS). Sideshows no longer exist, so the film gives a glimpse into a world that could never be duplicated.
I regard FREAKS quite fondly, which might seem an odd emotion, but it's a neat little gem of a film.
While I was aware of the notoriety of this film for some time, I was not aware of its pedigree. One might think the film might have been thrown together as some kind of exploitative quickie, but its production involved Hollywood legends like Lon Cheney Sr (it was originally conceived as a vehicle for him) and Irving Thalberg.
The film was mired in controversy from the beginning, and this adds to the fascination. Many, many edits were demanded from the studio, particularly after test screenings (the DVD shows a few different edits of the ending in its nice little documentary). Apparently, about 30 minutes wound up being cut, and I can't help but think that if an original cut could somehow be found it would uncover a significant piece of cinematic history.
While the story is pure melodrama, and not terribly important, the "freaks" themselves (they did not see the word as a pejorative term, by the way) are fascinating in their complete normalcy. The film treats them quite affectionately, with only a few scenes that could be considered gratuitous.
Another fascinating element of FREAKS is as an artifact of its time. The sound is awkward, because director Tod Browning still hadn't mastered talkies (a Hollywood veteran of dozens of films, Browning would only make three more films after FREAKS). Sideshows no longer exist, so the film gives a glimpse into a world that could never be duplicated.
I regard FREAKS quite fondly, which might seem an odd emotion, but it's a neat little gem of a film.