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Browning had been a member of a traveling circus in his early years, and much of the film was drawn from his personal experiences. In the film, the physically deformed "freaks" are inherently trusting and honorable people, while the real monsters are two of the "normal" members of the circus who conspire to murder one of the performers to obtain his large inheritance.
In mid-1931, MGM production head Irving Thalberg summoned scenarist Willis Goldbeck to tell him the time had come for the prestige studio to take heed of much-smaller Universal’s success with Tod Browning’s Dracula. Browning had done many silents for MGM, so Thalberg commissioned Goldbeck to write a vehicle for Browning’s comeback, something "even more horrible than Dracula."
Drawing on a Tod Robbins novel called Spurs, Goldbeck created a world even more self-contained than that of Grand Hotel (made the same year) — the warped world of Freaks, the garish world of the circus sideshow, replete with bearded lady, vain acrobats, simpering pinheads, even a hermaphrodite. Thalberg’s reaction to the script was: "Well, I asked for something horrifying."
Freaks was shot in 36 days on the sets still standing from Garbo’s Susan Lenox: Her Fall and Rise. Real freaks were brought to Culver City to populate this bizarre world, but the line between film and reality blurred when the freaks ate their meals in the MGM commissary. Even the most hardened showbiz veterans were "shocked and nauseated." Neither their complaints nor those of studio executives could stop Thalberg from completing the film. Its release was another matter. It received so much bad press and created such ill will that MGM was forced to withdraw it from circulation, suffering a loss of $164,000.
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