Freaks

Freaks is a perfect example of the saying don't judge a book by its cover, or a physically ("freakishly") disabled person can often be more human than a femme fatale or a beauty. Of course, by casting authentically handicapped people, Tod Browning achieved an unparalleled effect that culminated in the rainy scene during the hunt for Hercules and Cleopatra. It's no wonder that the film caused such a wave of controversy and earned the moniker "one of the most dangerous films ever made". All in all, a very well done piece of filmmaking that got to me profoundly. (16/01/2012)

Freaks isn't just a classic horror film from the early sound film era, it's much more than that. It’s an unconventional, confidently retold critique of depraved humanity, where genetically healthy individuals are put in the position of the real monsters, that not only carries a commendable and brilliantly depicted premise, but above all it leans, it must be added, without fear or reproach, on such bizarre themes concerning the natures and life principles of physically or mentally disfigured human beings as to make it a far more important and, above all, psychologically valuable spectacle than any other genre film of the time. A realistically sketched and thought-provoking lesson in advanced psychology, which, although it may have nothing to say to modern film fans and impresses only with its shocking casting, it’s something that everyone should listen to carefully. 85% (19/08/2015)

Tod Browning excels as a storyteller. With a precise psychological brush, he presents to us handicapped beings as people who can love, desire, dream and feel envy. And he triumphs narratively by putting them in conflict with able-bodied people, who are the real “freaks”. However, these are only pieces of a puzzle that, as a whole, does not make a complete cinematic impact on the viewer, who longs for something more than merely seeing something that hasn’t been seen before (e.g. an armless, legless man lighting a cigarette). The plot is rather banal, with a lightweight conclusion. And other than the necessary acknowledgement of Browning’s courage to make something like this in the 1930s, what’s left is only an unusual experience and a subject for a brief discussion. For that reason, I’m not giving Freaks my highest rating. (20/04/2003)

A legendary classic, which makes sense to assess in its contemporary context and which, nevertheless, still surprises with the decent craftsmanship of the film crew, direction, and acting performances. In terms of the dramatic plot, it is a relatively conventional matter, but considering the emphasis on the human side of physically disabled individuals and their right to dignity, it is a significant film with an ethical dimension. Overall impression: 80%. (15/04/2008)

Magical, bizarre outlandishness. And maybe more so now, sixty years later, than at the time of its release. There are so many ideas and originality here that it’s a shame it has such a short running time. It means a lot of leads are left to fizzle out. The result isn’t helped much by the same problem that brought down Dracula the year before. And that’s Browning’s static, uninventive directing. (03/04/2008)