A Parada dos Monstros

Tod Browning é um excelente contador de histórias. Com um pincel psicológico preciso, apresenta-nos os deficientes como pessoas que podem amar, desejar, sonhar e ter ciúmes. E, ao pô-los em conflito com as pessoas sem deficiência, que são os verdadeiros «freaks», triunfa narrativamente. Mas estas são apenas peças de um puzzle que, no seu conjunto, ainda não tem o impacto cinematográfico total num espetador que anseia por algo mais do que apenas ver o antes não visto (como um inválido sem braços e sem pernas a acender um cigarro). O enredo é bastante banal, com um resumo simples. E, para além do necessário reconhecimento da coragem de Browning em filmar algo assim nos anos 30 do século XX, fica apenas uma experiência singular e um tema para uma breve discussão. Por essa razão, não dou a melhor avaliação. (20/04/2003)

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. (03/04/2008)

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%. (15/04/2008)

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% (19/08/2015)

I find it quite funny that Browning, after his vehement efforts to explain to the viewer who the real freaks really are, still couldn't resist using the appearance of the performers at the end for the film's most impressive scene. But I would have been tempted, too. I'd love a director's cut, but I don't think I'll get one. In fact, the editing detracts greatly from the film, many scenes don't build on each other, and almost the entire film takes place in one place, so that up until the wedding reception I felt like everything was happening in one day. The Siamese twins are mega-appealing, and along with the bearded lady are my favorite freaks. I actually wish the Freaks actors had a whole series of their own in which they saved the world from ever new supervillains. First they'd mow down an army of formalists and then they'd unleash their super freak powers to deal with the main pretty boy, who would attack them with cutting humor and a distinguished air. And when our heroes killed and ate him at the end of each episode, the torso of the guy rolling a cigarette with his nose would tell a joke. A good one. Like the one where three tomatoes are walkin' down the street.... (19/04/2012)