Complete list of the films Guillermo del Toro has recommended on twitter. Click the 'Read notes' button to see his…
The love story of a SIREN, a GIANT, and a DWARF!
A carnival barker displays a sideshow freak called the Feathered Hen and tells her story. Cleopatra, a trapeze artist with the carnival, is adored by a midget named Hans. Frieda, Hans' fiancée (also a midget), warns Hans that Cleopatra is only interested in him so that he will give her money. Cleopatra has an affair with Hercules, and when Frieda lets it slip that Hans is to come into an inheritance, Cleopatra and Hercules plan to get the money be having Cleopatra marry Hans. During the wedding reception, Cleopatra, although openly romantic with Hercules, is accepted by the freaks, but is revolted and mocks them. The freaks decide that they no longer need Hercules in their carnival and have a new career for Cleopatra all lined up, and make sure she doesn't 'chicken' out.
A startlingly brave film for the time it was made in, Freaks is a powerful, empathetic story that still retains its power today. Quite who the real monsters are becomes clearer the more we are taken into the world of these circus performers. The horror arrives not from those who appear different from the 'norm' but those who cannot accept them.
There are moments of course where Tod Browning verges on exploiting the very same people he is trying to humanise. Some scenes are clearly set up as a spectacle, such as the man without limbs lighting his own cigarette or the rush to the bearded lady's tent to see her newborn. Yet by not filming their performances in the…
We accept you, one of us! Gooble Gobble!
A year after Tod Browning immortalized Bela Lugosi as Dracula he came out with the ever so controversial Freaks, a film that, all things considered, is better then the director's more famous earlier outing. It's also the film that supposedly brought on the demise of his career.
Looking at the poster you can see the studio trying to sell the picture as an exploitation flick with headlines like "Can a full grown woman truly love a midget?". MGM was basically acting like a carnival barker trying to get spectators to look at their "freakshow".
The film itself is much more then the poster suggests though. While it's cast mostly all have…
This holds up tremendously in one definitive category- the frank depiction of everyday freak-life. It's less about acting and more about real deformities captured in mundane existence. This is a sad film by the end, generating huge amounts of empathy without forcing trite stereotypes upon the freaks. They exist as they are and therefore the film refuses to spotlight the performers with any fake qualities. The honesty on screen is what has aged this finely. Director Todd Browning does not shy away from the shit luck these people were dealt in life. In the end, the story concludes as an essential morality tale and a fascinating window into the past.
If Richard Linklater time traveled and landed in a crazy circus atmosphere, Freaks is the movie that would have been inspired in him. Like Linklater films, the plot is there, but minimal and not as important as it's community of characters. We are given a glimpse into the life and mind of all the norms and "Freaks", capturing this twisted Circus World so vividly and sympathetically.
Todavía, el flashback más crudo de la Historia del Cine.
Las habrá más salvajes, las habrá más incorrectas, las habrá más enternecedoras, insólitas o desoladoras, pero ninguna es todo eso (y mucho más) a la vez. Esa es la razón por la que 'Freaks' es una película sin parangón.
Now that's what I call an ending.
The shear rapid-fire intense emotion here is astounding. After a satisfyingly executed but concise frame story we are presented with the first major sense wave of feeling here in the instantaneously understood jealousy of the Hans, Freida, and Cleo triangle. This is followed by brilliant flashes of rage, lust, tenderness, and melancholy in moments that would sometimes approach melodrama if they were not handled so briefly. Every character, freak or not, is interesting enough to have a film devoted to them entirely. Its easy to imagine a full on comic charade of the complicated dual-married life of the conjoined sisters or the complicated identity of the split in half man-woman.
All the actors here are a delight to watch, perhaps…
I would be best friends with Schlitzie.
I really like this movie.
What the hell was Hans doing cheating on Frieda anyway? She was literally perfect.
Hokey at times, cringe-inducing at others, but undeniably chilling. One wonders what the film could have been if MGM hadn't taken a hatchet to it.
نقطة ضعف الفيلم ده هى نقطة قوته فى نفس الوقت ... هو معتمد على قدرته على جذب المشاهد من خلال الأشكال الغربية و الحقيقية للبشر (أو المسوخ كما هو عنوان الفيلم) و طريقة تعاملهم مع واقع حياتهم ، أكثر من إعتماده على حبكته الضعيفة فى مواقع كتيرة ... و هو نجح فى مسعاه تماماً ... المشاهد مهما اختلفت درجة تقديره للفيلم ككل مستحيل أنه يفقد تواصله معه أو ينساه بعد مشاهدته .... رعب الفيلم أصلى جداً ...نابع من ذات المشاهد نفسه أكثر ما يكون نابع من الفيلم ... بالنسبة للمسوخ الحقيقيين أبطال العمل فهذه حياتهم الطبيعية ... بينما بالنسبة للمشاهد فده شئ غير طبيعى إطلاقاً ، و قدرته على التعاطى مع الشذوذ عن الطبيعة هنا هى اللى بتحدد درجة رعبه من الفيلم ... لازم أمدح المخرج (تود براونينج) على آخر عشر دقائق من الفيلم لأنه قدم مشهد رعب من الطراز الأول ... ذكرنى بمشهد مشابه من (توى ستورى ١) ... ا
I was expecting — dreading — something highly exploitative and instead found a surprisingly sensitive treatment of the physically different, tied to the Anvil of Irony that pretty blondes behave badly. More of a soap opera, really, focusing on some blossoming relationships amongst circus sideshow performers. Wallace Ford’s goofily charming, or charmingly goofy.
Everything here is strange and normal at the same time. Can't even imagine the impact on its own time.
one of us one of us
gooble gobble gooble gobble
Movies that have such a powerful/memorable/weird/insane/awesome/surprising last scene (or shot) that made you say "THAT ENDING!!!!!" or variations
A list that, if nothing else, proves the day-to-day usefulness of applied statistics.
Between 2015 and 2016, a series of…