What was perhaps mostly wrong with the film, though, was that it made viewers uncomfortable because it forced them to side with the “freaks” against the so-called “normal” characters — despite the fact that the vengeance exacted by the “freaks” on the “normal” villains can only be viewed as drastic. It took 1960s audiences, however, to finally “get it,” to realize that far from being exploitative, the viewer was meant to identify with and be sympathetic to the “freaks.”
On a more mundane level, it’s probably easier to accept the film today than it was in early 1932 when it first appeared because we tend to just lump “old movies” into one large group. That’s of course a false image — and it’s particularly so in 1932, which was kind of “the year they got the talkies right.” Yes, there were great — some very great — sound movies prior to 1932, but there was an overall (not always unappealing) clunkiness to a lot of what came out. This pretty much vanished in 1932, but Freaks looks and plays older. It probably seemed like an antique — in terms of style — when it was new. Add to that the “unpleasant” subject matter and the lack of any big names — and you have a box office disaster in the making. Today, the tendency is to just overlook its awkward style as “an old movie.”
While Freaks has come into its own, it’s still as well to approach it with a little caution. Some of the humor has not worn well. (Roscoe Ates’ stuttering schtick was already on the way out at the time.) There are inconclusive moments to the film — at least as it was released. What does happen to the strong man (Henry Victor)? Apparently, he was emasculated, but you’ll never get that from the film. Some of the shocks shock without making much, if any, sense. Sure, the image of Prince Randian — “The Living Torso” — crawing through the mud with a knife in his mouth in pursuit of the bad guys is disturbing, but just exactly what real threat does he present. It’s the sort of thing — much like Cleopatra’s (Olga Baclanova) come-uppance — that works as a momentary chill until you think about it. And then there are Harry and Daisy Earles, who fit their roles perfectly — except that it’s virtually impossible to understand what they’re saying a lot of the time. So, yeah, it’s flawed, but it’s also an essential of the genre. And what other movie and director found their way into a David Bowie song?
I first saw this film when I was around 10 years old. It was the first movie my father let me go see alone. He managed a theatre then in Wilson, NC, and my brother (4 years younger) and I went to his theatre and watched some movie with Cliff Richard (I can’t recall the name, and didn’t even recall that movie until my brother reminded me). After it ended, my father called his friend who managed another theatre that was showing ‘Freaks’ and arranged for me to see it (free, of course). I left the first theatre and bravely walked by myself the few blocks to the one showing this film. My father almost didn’t let me go, but knew I was an avid horror movie fan, was fairly mature for a kid and would be fine.
The movie did not scare me, but I do remember walking out feeling bad. It may have been the first time that I was exposed to unfortunate people so deformed, and I was sad for a long time afterwards.
Can’t wait. This will be fun on the big screen.
I can’t say I ever really thought of Freaks as fun. (And who is that avatar?)
Whaaaat? This might help you …in that picture he (Ogre) is yelling “NNNERRRRDS!!” No, I can’t say it’s a classic but a damn good time.
From Safety Last to Reveng of the Nerds (Orson Welles voiced the trailer, that’s crazy)
Lots of spice in the celluloid stew.
Yes, well…
Did you see the clip that surfaced earlier this week of that porn scene Orson Welles directed in the 70’s?
No.
Did Browning oversee the Spanish Dracula that used his sets? I enjoyed that version, some scenes were creepier than the main version.
No, he had nothing to do with it — apart from the shots that the Spanish version directly lifts from the Browning film. I find the Spanish Dracula nothing more than a curio. It doesn’t help, of course, that Dracula looks like Topo Gigio.
TCM is playing Orson Welles film Mr. Arkadin (1955) tonight.
Browning had nothing to do with that either.
I meant for that comment to be in the other conversation that mentioned Orson Welles.