Freaks 1932 123movies

Watch: Freaks 1932 123movies, Full Movie Online – A circus trapeze artist, Cleopatra, takes an interest in Hans, a midget who works in the circus sideshow. Her interest however is in the money Hans will be inheriting and she is actually carrying on an affair with another circus performer, Hercules. Hans’s fiancée does her best to convince him that he is being used but to no avail. At their wedding party, a drunken Cleopatra tells the sideshow freaks just what she thinks of them. Together, the freaks decide to make her one of their own..
Plot: A circus’ beautiful trapeze artist agrees to marry the leader of side-show performers, but his deformed friends discover she is only marrying him for his inheritance.
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Ratings:

	7.8/10 Votes: 47,003
	95% | RottenTomatoes
	80/100 | MetaCritic
	N/A Votes: 958 Popularity: 23.629 | TMDB

Reviews:

If I have to be honest, I’d say that I have uncertain opinions concerning this film on the whole. On the one hand, I can’t say that I didn’t enjoy ‘Freaks’, mainly because of its nice display of bizarre cast members. On the other hand, I can’t help feeling slightly at fault, considering that these were real people who probably suffered a lot in their lives because of their malformations, something they obviously couldn’t help. Here’s a movie that basically became popular precisely because it’s about real life ‘freaks’ (?) and here’s the audience that somehow takes pleasure from a film that consciously makes profit out of unfortunate human beings. Being aware of this, I can’t lie and say that I didn’t enjoy this movie, because… I honestly did!. I’m not going to say that ‘Freaks’ fascinated me because of the plot, or the locations or the unspoken moral, because even though all those things were fine too, I mostly wanted to see the film because of its characters, that’s the reality. However, I suppose it is not so bad to enjoy this movie because of this reason, considering that these people actually agreed to appear in the movie and the fact that they appeared here, didn’t make their lives any better or worse, so in the end… it’s not really a crime, but I can’t help having vague ideas about it. As the movie begins, we see a scrolling prologue, which pretty much encourages the audience to root for the side-show performers and incite us to feel terrible for them, since people with deformities has been always predestined to the most awful chastisements and degradations… which worked for me!. I felt really bad at first, but in the end, it was comprehensible that this film clearly tries to give a message in a far-reaching and yet hideously pleasurable approach. Therefore, my personal opinion, is that the title ‘Freaks’, doesn’t necessarily have to be a reference to the side-show performers with malformations and perhaps, it may be an allusion to the fully grown characters who were the real freaks because of their wicked hearts.

In ‘Freaks’ the story revolves around a circus that offers all kinds of shows, including the exhibition of people with malformations as if they were exotic animals. Cleopatra, a beautiful and promiscuous trapeze artist from the circus, maliciously deceives an innocent midget named Hans and makes him believe that she is in love with him. On the other hand, Frieda, Hans’ former fiancée, hopelessly tries to warn his beloved one and make him realize that Cleopatra is just making fun of him deliberately and that she’s only with him because of his money. Ignoring Frieda’s friendly warning, Hans eventually marries the trapeze artist, only to realize that she was indeed poking fun at him from the very beginning and that her only business with him is to poison him to inherit his wealth later. However, the rest of the side-show performers become aware of this and decide to rise up against the vicious Cleopatra and her lover Hercules.

Like I said, the film is remarkably engaging and regardless of the unassuming plot and the short duration, it still doesn’t leave the audience with a feeling of disappointment. For the contrary, during that short hour and four minutes, the movie pretty much develops all the necessary conflicts, situations, beautiful music, nice scenarios and perfect interaction between the characters. Tod Browning managed to achieve a highly compelling drama flick with some of the finest and most atypical actors, who captivate the audience with their charm and innocence. Give this movie a chance and decide which ones are the real freaks and which ones aren’t.

This is for the misfits the freaks and the runts.

Tod Browning’s Freaks is as infamous today as it was back in the 30s when it shook film watchers to the core. Of course time has diluted some of its impact, you can imagine that a modern day horror fan drooling over torture porn et al being completely bemused by the reputation afforded Freaks. Yet it still remains a unique and nightmarish piece of film making, the sort of picture that if someone like David Lynch had made it in the modern era it would be heralded as a masterpiece of daring and genius like artistry.

Browning pulls us the viewers into this bizarre carnival society of oddities who are genuinely portrayed by real people. Their codes and ethics are laid bare, but not in some sort of yearning for sympathy, but in a factual way of life. Browning toys with his audience, planting suggestive images of sexual dalliances and role reversals, then he completely pulls the rug from under us to deliver his flip-flop finale.

The messages aren’t deep, but they need to be thought about. For even as the freaks of Browning’s play terrifyingly pursue their quarry through the rain and mud, as the blood freezes and the macabre imagery strikes the senses, it would be a shame if themes such as love and loyalty be forgotten. 9/10

Very good relatively avant-garde film
Part fictional portrait of a group of circus sideshow performers and part tragic soap opera about their various and complicated relationships, the main story has a midget, Hans (Harry Earles), falling in love with the Amazonian trapeze artist, Cleopatra (Olga Baclanova), who feigns affection for him–at first to taunt him and later to use him.

Freaks isn’t really a horror film, although the horror boom that began in 1931 precipitated Freaks entering production. The script developed out of an earlier one named “Spurs” that had been in MGM’s possession since the late 1920s. The success of Universal’s horror films of 1931 (Dracula and Frankenstein) had studios scrambling to cash in on the trend. Horror films weren’t new, of course, but repeated commercial success of horror films released in quick succession was. A number of factors contributed to the phenomenon, including the Great Depression, the lingering cultural impact from World War I, and the advent of sound films. So even though Freaks wasn’t exactly horror, and the protagonists weren’t exactly monsters, it was close enough. In the early 1930s, the public had not yet been overexposed to media-sensationalized differences in human appearances and behavior. The effect of the film then, in conjunction with memories of real life horrors, including those of war-mangled veterans, offered the emotional reaction that producers and studios are often seeking from horror films.

But Freaks is really part tragic drama, part character study, and in many ways it is almost a documentary. The modern attraction to the film comes from a few sources. One, the “gawking effect”, or the simple fact of watching the freaks in action. Sideshows are an unfortunately dying phenomenon, if they’re not already dead (many would say they are), largely because of a combination of medical advances, which often “cure” the physical differences that would have made “victims” sideshow candidates, and political correctness, which mistakenly sees sideshows as negatively exploitative. It’s fascinating watching the different kinds of people in the film and their behavior, including not only their social interactions, but how some of them manage to just get around and perform everyday activities such as eating, lighting a cigarette, and so on. This kind of material takes up at least half of the film’s short running time (64 minutes; initially it ran closer to 90 minutes, but 26 minutes of cuts were made (and are now apparently lost) to appease the New York State censor board).

Two, this was a lost film, figuratively and almost literally, for quite some time. MGM wanted nothing to do with it. For a while, it had been playing the “roadshow” circuit in different cuts, under different titles, such as “Nature’s Mistakes”. The film had been banned in many areas, and at least technically is still banned in some. It eventually appeared on VHS in the 1980s, but until the recent DVD release, it has never been very easy to find in most rental or retail outlets.

Three, the most common modern reading of the film–and this was also part of director Tod Browning’s intention in making Freaks, even if the average audience member didn’t see it this way at first, has it as a Nightbreed (1990)-like turning of the dramatic tables, where the extremely alienated “monsters” are the sympathetic protagonists and the ostensibly “normal” humans turn out to be the real monsters. For those who like films best where they can identify in some emotional way with the characters, Freaks is particularly attractive to anyone who feels alienated or strongly different, even looked down upon, by “normal” society. At various times, and by various people, Freaks has been read as everything from purely exploitative schlock to a socialist parable to a film imbued with odd commentary, metaphors and subtexts about male-female couplings and Oedipal complexes.

Freaks isn’t a great film in terms of the usual criteria, such as storytelling, exquisite performances, and so on, but it’s appropriate that it wouldn’t be a masterpiece per the normal criteria–it’s not about normal people. The film is certainly valuable as a creative, almost experimental artwork, not to mention as a more or less permanent record of the decayed and almost abandoned artform of sideshows. It’s not surprising that not every cast member is an incredible actor–for many roles, there was only one person available who could have fulfilled the character in a particular way, making the stilted delivery of dialogue more excusable. In any event, this is an important film historically, and a joy to watch.

Repulsive. Offensive. Brilliant.
If there ever was a time when film making could get away with producing movies that bordered on blatantly exploitative, the pre-Code 1930s were it. Tod Browning, director of Dracula, went one definitive step further and effectively killed his own career when he took the reigns of directing FREAKS, a project that was turned down by Myrna Loy when offered the lead since she deemed it to be too offensive as it was.

She may have been right, but nowadays, FREAKS stands as one of the shortest yet most effective horror movies of all time due to its chilling climactic sequence. The plot’s plausibility can be in itself questioned — where can a circus performer who’s a midget have all the money he is said to have in the film is anyone’s guess — but since this is a horror story, and an excellent one, suspension of disbelief allows one to sort of accept what’s being explained to us.

Hans (Harry Earles), the little performer at the center of this story, rejects equally little person Frieda (Daisy Earles), loves Cleopatra (Olga Baclanova), a platinum blonde trapeze artist, herself involved with strongman Hercules (Henry Victor). Eventually, through a series of events, Cleopatra marries Hans for money, but she goes out of her way to humiliate him at the wedding reception, horrified as the other circus “freaks” chant “Gooble-gobble, gooble-gobble, we will make you one of us.” Oh, how dead-serious they are in their eerie chant.

When the band of freaks find out she has been poisoning Hans to get his money and that her strongman lover has raped Venus (Leila Hyams), another performer who’s always been good to them, they exact a horrific revenge against the both of them, and the last 10 minutes of FREAKS are as gruesome as terrifying.

This film was initially received with so much repulsion from audiences that MGM virtually disowned the film. Only until much later has it been re-discovered as a horror classic, and again, while some of the plot elements don’t hold water today, the basic story of the abused and disabled taking charge of their own lives and punishing their abusers stands on its own today. That actual disabled people were used as actors only makes it more daring and adds to both the creepiness of the movie’s feel and enhances their final moment on screen and only enhances the final ironic reel.

Other Information:

Original Language en
Runtime 1 hr 4 min (64 min)
Budget 310607
Revenue 0
Status Released
Rated Not Rated
Genre Drama, Horror
Director Tod Browning
Writer Clarence Aaron ‘Tod’ Robbins, Willis Goldbeck, Leon Gordon
Actors Wallace Ford, Leila Hyams, Olga Baclanova
Country United States
Awards 2 wins & 1 nomination
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono (Western Electric Sound System)
Aspect Ratio 1.37 : 1
Camera N/A
Laboratory N/A
Film Length (7 reels)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm