What Is Normal? by Tyler Smith

FREAKS (1932)
Directed by: Tod Browning
Written by: Willis Goldbeck and Leon Gordon
Starring: Harry Earles, Leila Hyams, Henry Victor

When I say the name “Dracula,” I’m almost positive that most of you will think of an exotic European with slicked back hair, piercing eyes, and a cape. In other words, you’ll think of Bela Lugosi in the 1931 film. Even those who haven’t seen the film will think of that image. That’s how successful the movie was; seventy years later, we still picture Lugosi in that musty old castle.

That said, it’s a fair assumption that the director responsible for the film, Tod Browning, would be set for life. With a success like that, how could he lose? Even if he took a professional misstep, how bad could it be?

Well, let’s put it this way: Before Dracula, Browning had already directed more than fifty films; most of them silent. In 1932, he made a film called Freaks. After that, he directed four more movies, retired from the film industry, became a recluse, and died alone twenty years later.

Such was the impact that a movie like Freaks could have on the career of a successful film director.

I have only seen this film once in my life, about six years ago. Occasionally, I have to watch a movie before I write about it, because my memory is a little hazy. Not the case with “Freaks.” Once it’s in your head, it’s not going anywhere.

The film features a community of sideshow freaks. No makeup needed here; the characters are all played by real circus oddities; pinheads, bearded women, legless men, they’re all here. The story begins as a beautiful circus acrobat and her strongman boyfriend learn that one of the freaks (a good-hearted midget named Hans) is very wealthy. Their plan: the acrobat will marry Hans and take his money.

The acrobat proceeds to manipulate Hans and his friends until she is finally accepted into the freak family.

The scene in which they accept her as “one of us” is very bizarre. So much so, in fact, that the acrobat flees in terror. Hans, being the understanding sort, forgives her for her tactlessness.

Soon enough, however, the family of freaks discovers the treacherous plans of the acrobat and the strongman. They exact their revenge, which is brutal, yet appropriate.

So, that’s the story. Not really that groundbreaking, even though the cast is populated with genuine circus freaks. The “shock value” is not enough for this film to make it onto my list.

What makes this film special is its heart. And, yes, it does have a heart. The initial reaction that a person has to this film (especially in our politically correct times) is that Browning is exploiting these unfortunate souls.

However, we soon begin to feel a fondness for this makeshift family. We may start the film feeling like we’re on the outside of this tightknit group, but we warm up to them quickly, and feel like we’re a part of it ourselves. We see these people as friends; accepting and non-judgmental.

Which is why, when we meet the “normal people” and see their revulsion and scorn for the oddities, we start to truly understand the title. An inflammatory title, we assume it refers to the strange creatures we’re seeing, but we wise up quickly, and realize that the true freaks are the morally reprehensible acrobat and strongman.

In actuality, the theme of the film is no different than The Nutty Professor or Shallow Hal. The problem with those movies, however, is that they want to have their cake and eat it, too. They talk about how true beauty is found on the inside, yet have no problem with making fat jokes throughout.

You won’t find that in Freaks. It is completely sincere in its love for these characters. And, in using the most extreme of outcasts, it tests the audience. It’s easy for us to say, “Oh, sure, that girl’s a little heavy-set, but it’s what’s on the inside that counts.”

But when you’re watching a sixty-pound woman talk to a man with no arms or legs, that kind of enlightened attitude may not be your first instinct. But, if you’re willing to work through your repulsion, you’ll see that these two “freaks” are people with the same needs and desires as the rest of us.

It’s a theme that Tod Browning believed in so strongly, he lost his career over it.

But, seventy-five years later, his film is still as challenging and effective as it was upon its release. And if you’re willing to take a chance on it, you’ll be rewarded with a cinematic experience that is both fascinating and touching.

And I don’t think I’m overstating when I say that it’s a film that you will never forget.