Rapid Response: Freaks (1932)

Tod Browning’s “Freaks” may only have ever been made in that twilight period of the movies where sound pictures were still in their infancy and the Hays Production Code had not yet been established. And yet this cult, horror classic seems both ahead of its time and repulsively dated.

The film is a love story between a collection of sideshow performers in a circus, and “Freaks” is so strikingly notable because Browning, coming right from the traveling circus himself, successfully cast individuals with actual disabilities and deformities. There’s the two lovely Siamese twin girls, a half man/half woman, a man without legs, another with only a torso, a bird lady, an armless woman and the Pinheads, the latter of which are simply horribly deformed.

The central characters however are two dwarfs, Hans and Frieda (actual brother and sister Harry and Daisy Earles), who are engaged to be married until Hans develops a crush on the ravishing trapeze artist Cleopatra (Olga Baclanova). She uses Hans for his money and laughs at him behind his back with her lover, the circus strongman Hercules (Henry Victor). The two try to poison Hans, and the circus freaks collectively get their vengeance by murdering and mutilating the two normals. Continue reading “Rapid Response: Freaks (1932)”

Rapid Response: Dracula (1931)

Bela Lugosi, as iconic as he is in the role of Dracula, has not helped this early ’30s film age any better than its horror counterparts.

Tod Browning’s “Dracula” from 1931 is a classic and leaves a much needed legacy of Old Hollywood horror as the basis of the myths and lore we carry about some of popular culture’s most favorite monsters. What’s more, Bela Lugosi as Count Dracula still remains the template image for the way people envision the classic vampire (none of that “Twilight” shit) and Dracula himself, in the same way Boris Karloff still is the model for the Frankenstein monster.

And yet the film is horribly dated and overrated. It’s a much maligned classic that is beyond cheesy and feels long even at 75 minutes.

The opening scene is riddled with a bad sense of spatial continuity and painfully thick foreshadowing. The character Renfield (Dwight Frye) hardly even gives a reason for venturing to Dracula’s decrepit castle before blatantly accepting the fact that its riddled with cobwebs and phantom stagecoach drivers. And Lugosi’s iconic line, “Listen to them, the children of the night. What music they make,” which still remains chilling, comes so soon in the movie I was tempted to turn it off right then. Continue reading “Rapid Response: Dracula (1931)”