Rendező:
Tod BrowningOperatőr:
Merritt B. GerstadSzereplők:
Wallace Ford, Leila Hyams, Olga Baclanova, Roscoe Ates, Harry Earles, Daisy Earles, Schlitze, Daisy Hilton, Violet Hilton, Josephine Joseph, Johnny Eck (több)Tartalmak(1)
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. (Warner Bros. UK)
Videók (1)
Recenziók (7)
Tod Browning kiváló mesélő. Pontos pszichológiai ecsettel mutatja be nekünk a fogyatékos lényeket, mint olyan embereket, akik tudnak szeretni, vágyakozni, álmodni és féltékenyek lenni. És azzal, hogy konfliktusba hozza őket az egészséges emberekkel, akik itt az igazi "szörnyszülöttek", az elmesélése győz. De ezek csak darabkái a kirakósnak, amely egészében mégsem hat teljes értékűen a nézőre, aki többre vágyik annál, mint hogy az eddig nem látottakat lássa (például kar és láb nélküli nyomorékot, aki cigarettát gyújt magának). A cselekmény meglehetősen banális, könnyed összefoglalással. És eltekintve Browning bátorságának elismerésétől, hogy az 1930-as években ilyesmit filmre vitt, csak egy szokatlan élmény és egy rövid vita tárgya marad. Ezért nem adom a legmagasabb minősítést.
()
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%.
()
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%
()
"You always use that as an excuse, an alib-b-b-bi..." The film is 60% sitcom set in a circus environment, 15% romance, 15% tragic drama under the patronage of moral monstrosities, and the rest is a bit of horror in the muck beneath horse-drawn carriages, with a hint of class conflict from the Great Depression woven between the lines. I don’t get these worldly things. They have The Living Torso, who so skillfully lights a cigarette, and yet they’re still keeping feeding a seal...
()
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.
()
Hirdetés