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Dark Carnival: The Secret World of Tod Browning, Hollywood’s Master of the Macabre
The definitive biography of Hollywood horror legend Tod Browning—now revised and expanded with new material One of the most original and unsettling filmmakers of all time, Tod Browning (1880–1962) began his career buried alive in a carnival sideshow and saw his Hollywood reputation crash with the box office disaster–turned–cult classic Freaks. Penetrating the secret world of “the Edgar Allan Poe of the cinema,” Dark Carnival excavates the story of this complicated, fiercely private man. In this newly revised and expanded edition of their biography first published in 1995, David J. Skal and Elias Savada researched Browning’s recently unearthed scrapbooks and photography archives to add further nuance and depth to their previous portrait of this enigmatic artist.
Skal and Savada chronicle Browning’s turn-of-the-century flight from an eccentric Louisville family into the realm of carnivals and vaudeville, his disastrous first marriage, his rapid climb to riches in the burgeoning silent film industry, and the alcoholism that would plague him throughout his life. They offer a close look at Browning’s legendary collaborations with Lon Chaney and Bela Lugosi as well as the studio politics that brought his remarkable run to an inglorious conclusion. With a revised prologue, epilogue, filmography, and new text and illustrations throughout, Dark Carnival is an unparalleled account of a singular filmmaker and an illuminating depiction of the evolution of horror and the early film industry.
Skal and Savada chronicle Browning’s turn-of-the-century flight from an eccentric Louisville family into the realm of carnivals and vaudeville, his disastrous first marriage, his rapid climb to riches in the burgeoning silent film industry, and the alcoholism that would plague him throughout his life. They offer a close look at Browning’s legendary collaborations with Lon Chaney and Bela Lugosi as well as the studio politics that brought his remarkable run to an inglorious conclusion. With a revised prologue, epilogue, filmography, and new text and illustrations throughout, Dark Carnival is an unparalleled account of a singular filmmaker and an illuminating depiction of the evolution of horror and the early film industry.
416 pages, Paperback
First published September 1, 1995
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About the author
David J. Skal
55 books182 followersDavid J. Skal became fascinated with monsters at the height of the 1962 Cuban missile crisis, when indestructible monsters like Dracula, Frankenstein and the Wolf Man provided a "nuclear security blanket" for a whole generation of youngsters.
Active as an editor and reporter on his high school newspaper, he was granted a journalism scholarship to Ohio University, Athens, where he earned a bachelor's degree in 1974. His work as film critic, arts reporter, arts editor and assistant managing editor of the Ohio University Post, one of the country's leading college papers,led to his three-season appointment as publicity director of the University-operated Monomoy Theatre on Cape Cod. Following his graduation, he served as a public affairs intern in the office of National Endowment for the Arts chairman Nancy Hanks, and went on to the position of Publicity Director at the Hartford Stage Company, where he oversaw all media relations while the regional company fund-raised, built and opened a major new facility in downtown Hartford. In 1978, he was staff writer for the American Conservatory Theatre in San Francisco, with responsibility for the content of all printed materials. From 1979-1982 he was Publications Director of Theatre Communications Group, a national service organization in New York City. From 1982 to 1992 he was president and creative director of David J. Skal Associates, Inc. (later Visual Cortex Ltd.), a Manhattan-based, nationally oriented design and marketing consultancy with clients ranging from the Metroplitan Opera to regional theatre, dance and music organizations.
A published writer of short fiction since his early college years (he was one of the youngest students ever admitted to the celebrated Clarion Writers Workshop in fantasy and science fiction), he authored three well-received science fiction novels: SCAVENGERS (1980), WHEN WE WERE GOOD (1981) and ANTIBODIES (1987). His long-standing interest in Dracula and his extensive contacts in the theatre world led to his first nonfiction book, HOLLYWOOD GOTHIC: THE TANGLED WEB OF DRACULA FROM NOVEL TO STAGE TO SCREEN (1990), followed by THE MONSTER SHOW: A CULTURAL HISTORY OF HORROR (1993). Many other books followed, including V IS FOR VAMPIRE (1995); DARK CARNIVAL: THE SECRET WORLD OF TOD BROWNING (1995,with Elias Savada); the Norton Critical Edition of Bram Stoker's DRACULA (1996, co-edited with Nina Auerbach); SCREAMS OF REASON: MAD SCIENCE AND MODERN CULTURE(1997); and the monumental anthology VAMPIRES: ENCOUNTERS WITH THE UNDEAD (2001, the largest such illustrated/annotated compendium ever published.
Skal began his work as a documentary filmmaker writing and co-producing segments for the A&E Network's award-winning series "Biography," and contributed scripts chronicling the lives and careers of Bela Lugosi, Boris Karloff, Lon Chaney, Jr. and Angela Lansbury (with whom he had worked during his theatre career). In 1999, he wrote, co-produced and co-directed a behind-the-scenes chronicle of the Academy Award-winning film GODS AND MONSTERS. The same year, he was tapped by Universal Studios Home Video for a series of twelve original DVD documentaries exploring the legacies of the studio's classic horror and science fiction films. His DVD work has continued with Disney Home Video's "Jules Verne and Walt Disney: Explorers of the Imagination" (2003) and the feature commentary for Warner Home Video's special-edition release of Tod Browning's FREAKS (2004).
His current projects include CITIZEN CLONE: THE MORPHING OF AMERICA (Faber and Faber, 2005)and CLAUDE RAINS: AN ACTOR'S VOICE, a biography based on the acclaimed character actor's never-published reminiscences, written in collaboration with the actor's daughter, Jessica Rains.
David Skal is a member of the Authors Guild. He lives and writes in Glendale, California.
Active as an editor and reporter on his high school newspaper, he was granted a journalism scholarship to Ohio University, Athens, where he earned a bachelor's degree in 1974. His work as film critic, arts reporter, arts editor and assistant managing editor of the Ohio University Post, one of the country's leading college papers,led to his three-season appointment as publicity director of the University-operated Monomoy Theatre on Cape Cod. Following his graduation, he served as a public affairs intern in the office of National Endowment for the Arts chairman Nancy Hanks, and went on to the position of Publicity Director at the Hartford Stage Company, where he oversaw all media relations while the regional company fund-raised, built and opened a major new facility in downtown Hartford. In 1978, he was staff writer for the American Conservatory Theatre in San Francisco, with responsibility for the content of all printed materials. From 1979-1982 he was Publications Director of Theatre Communications Group, a national service organization in New York City. From 1982 to 1992 he was president and creative director of David J. Skal Associates, Inc. (later Visual Cortex Ltd.), a Manhattan-based, nationally oriented design and marketing consultancy with clients ranging from the Metroplitan Opera to regional theatre, dance and music organizations.
A published writer of short fiction since his early college years (he was one of the youngest students ever admitted to the celebrated Clarion Writers Workshop in fantasy and science fiction), he authored three well-received science fiction novels: SCAVENGERS (1980), WHEN WE WERE GOOD (1981) and ANTIBODIES (1987). His long-standing interest in Dracula and his extensive contacts in the theatre world led to his first nonfiction book, HOLLYWOOD GOTHIC: THE TANGLED WEB OF DRACULA FROM NOVEL TO STAGE TO SCREEN (1990), followed by THE MONSTER SHOW: A CULTURAL HISTORY OF HORROR (1993). Many other books followed, including V IS FOR VAMPIRE (1995); DARK CARNIVAL: THE SECRET WORLD OF TOD BROWNING (1995,with Elias Savada); the Norton Critical Edition of Bram Stoker's DRACULA (1996, co-edited with Nina Auerbach); SCREAMS OF REASON: MAD SCIENCE AND MODERN CULTURE(1997); and the monumental anthology VAMPIRES: ENCOUNTERS WITH THE UNDEAD (2001, the largest such illustrated/annotated compendium ever published.
Skal began his work as a documentary filmmaker writing and co-producing segments for the A&E Network's award-winning series "Biography," and contributed scripts chronicling the lives and careers of Bela Lugosi, Boris Karloff, Lon Chaney, Jr. and Angela Lansbury (with whom he had worked during his theatre career). In 1999, he wrote, co-produced and co-directed a behind-the-scenes chronicle of the Academy Award-winning film GODS AND MONSTERS. The same year, he was tapped by Universal Studios Home Video for a series of twelve original DVD documentaries exploring the legacies of the studio's classic horror and science fiction films. His DVD work has continued with Disney Home Video's "Jules Verne and Walt Disney: Explorers of the Imagination" (2003) and the feature commentary for Warner Home Video's special-edition release of Tod Browning's FREAKS (2004).
His current projects include CITIZEN CLONE: THE MORPHING OF AMERICA (Faber and Faber, 2005)and CLAUDE RAINS: AN ACTOR'S VOICE, a biography based on the acclaimed character actor's never-published reminiscences, written in collaboration with the actor's daughter, Jessica Rains.
David Skal is a member of the Authors Guild. He lives and writes in Glendale, California.
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Displaying 1 - 30 of 38 reviews
March 20, 2008
I picked this up because of my love of the movie Dracula and old horror movies in general. The author, David Skal, has written about the history of the horror movie, and here he focuses on Tod Browning, best known as the director of the movie Dracula.
Browning put on plays as a kid in his backyard, and at the age of sixteen ran off with the circus. His performing experience there eventually led to work in the brand new movie industry.
He worked extensively with Lon Chaney, with whom he made several silent features. Browning's movies celebrated anti-heroes, such as armless knife throwers, circus freaks, and, of course, vampires.
A fascinating look at the beginnings of the movie industry, and horror films.
Browning put on plays as a kid in his backyard, and at the age of sixteen ran off with the circus. His performing experience there eventually led to work in the brand new movie industry.
He worked extensively with Lon Chaney, with whom he made several silent features. Browning's movies celebrated anti-heroes, such as armless knife throwers, circus freaks, and, of course, vampires.
A fascinating look at the beginnings of the movie industry, and horror films.
October 9, 2024
Browning didn't leave much in the way of written personal reflections on his career, so the authors had to piece the auteur's life together from interviews with those who knew him, archival documents, and personal papers/scrapbooks that he retained. The portrait they assemble is of a quirky, complex man. The sections on Dracula and Freaks are the high points for film fans reading this book, just as these works are key moments of Browning's Filmography. A solid biography overall, that endeavors to be as neutral and fact based as sources allow.
October 16, 2007
Tod Browning is one of my favorite film directors, simply because he directed the original "Dracula." He also was responsible for one of the most controversial films in Hollywood history, "Freaks." His resume includes many of Lon Chaney's best silent films as well. "Dark Carnival" reveals that Browning was naturally drawn to the dark and macabre. As a teenager, for example, Browning ran away with the circus and actually enjoyed performing an act where stayed underground in a coffin, for days at a time, existing only on chocolate malt balls. The book is full of interesting anecdotes from the early days of Hollywood. We learn, for instance, that Bela Lugosi was paid only a few thousand dollars total for the starring role in "Dracula," while co-star David Manners was paid several thousand per week. Manners lived to be nearly 100, and Skal reports that when he interviewed him, the old actor revealed that he had never seen "Dracula," was embarrassed of it, and refused to watch it then. Anyone interested in old horror films, and the life of one who made some of the best, would really enjoy this book.
March 11, 2015
It's no real surprise that Tod Browning's Freaks had a level of popularity then and now. As long as there is the history of the gladiators, circuses, truck derbies etc. In short blood sports and recklessness of lives there will always be an interest in the unusual or for some abnormal. This is a highly fascinating book if you are in the least interested in the macabre or into spooky films or a different kind of art. David J.Skal is a very good writer and the help of Elias Savada worked well. My only objection? How Bela Lugosi was rendered. I am still firmly of the belief that anyone using his accent as a slapstick has it wrong. Unless they really mean he should have sported an American twang and overbearing American mannerisms to over compensate the fact he wasn't born American. If that's what film historians mean or film buffs that write then by all means say so. In the meantime I shall continually disagree he had a failure to grasp the English language, even if I disagree with his son.
March 21, 2025
I always watch Tod Browning films when they are shown on TCM. I even nicknamed a neighbor's dogs the "unholy three." So I was very interested when I discovered that "Dark Carnival" existed. Author David Skal did a masterful research job considering the subject was long dead and did not leave behind any journals or memoirs. Even interviews with Browning are few. However, there were still some surviving friends and family who helped, and the studio records of his films were still intact.
The result is a thorough timeline of Tod Browning's life and works with anecdotes and criticisms. I was surprised to learn how many other silent films he wrote or acted in before becoming a director. Sadly, many of these are lost. His personal life was a rollercoaster of successes, failures, tragedies and recoveries. He loved alcohol and fast cars with the expected results, but he also had a relatively stable marriage with regular vacations to Europe between the wars.
The epilogue detailing Browning's influence on future filmmakers and artists was worth the price of admission alone. He was loved by the surrealists and references to his work can be found in many modern films. His epic "Freaks" still has the power to shock audiences today and was influential to authors (Katherine Dunn) as well as artists (photographer Diane Arbus for example). My appreciation for Browning's body of work has grown as a result of "Dark Carnival."
The result is a thorough timeline of Tod Browning's life and works with anecdotes and criticisms. I was surprised to learn how many other silent films he wrote or acted in before becoming a director. Sadly, many of these are lost. His personal life was a rollercoaster of successes, failures, tragedies and recoveries. He loved alcohol and fast cars with the expected results, but he also had a relatively stable marriage with regular vacations to Europe between the wars.
The epilogue detailing Browning's influence on future filmmakers and artists was worth the price of admission alone. He was loved by the surrealists and references to his work can be found in many modern films. His epic "Freaks" still has the power to shock audiences today and was influential to authors (Katherine Dunn) as well as artists (photographer Diane Arbus for example). My appreciation for Browning's body of work has grown as a result of "Dark Carnival."
October 28, 2025
This was a well researched biography of controversial film maker Tod Browning. The narrative was fascinating with Browning running off and joining the carnival as a teenager, then working in vaudeville, and finally ended up in Hollywood in its infancy. Along the way, Browning works with a virtual who's who of early Hollywood legends. Dark Carnival is a great book for those interested in Hollywood and/or early genre filmaking.
March 20, 2008
Weird book that contradicts itself several times (was Dracula a flop or wasn't it?). The gossip on the making of "Freaks" is worth the price of the book alone. And anything about Lon Chaney is entertaining to read.
What I liked about the book was the way the authors explained how Browning's perpetual storytelling of cripples made World War I veterans feel like someone in Hollywood was compassionate to them. I never thought of that!
What I liked about the book was the way the authors explained how Browning's perpetual storytelling of cripples made World War I veterans feel like someone in Hollywood was compassionate to them. I never thought of that!
February 27, 2016
Well researched and well presented, but ultimately it leaves Browning as remote and enigmatic as it found him. This is not the fault of the writers; Browning himself was a guarded, uncommunicative, and enigmatic man whose life poses more questions than any biographer can answer.
November 7, 2020
As you expect from David Skal (here writing with Elias Savada), this is intelligent, well-researched and very readable. Whether you're reading for interest or for research this is a fascinating portrait of a director on whom it is sometimes hard to get a firm grasp.
March 23, 2023
A thoroughly engrossing, well-documented look into silent Hollywood’s master of macabre: Tod Browning. If you are a fan of Browning obscure oeuvre (of which Dracula & Freaks are really lesser pieces) then you will love this book!
June 20, 2015
3.5 stars.
November 26, 2023
Biography of director Tod Browning, famous for Dracula and Freaks and for multiple films with actor Lon Chaney.
I feel like this book did a good job of showing not the kind of person that Tod Browning was, but showing him as a complex person, not easily reduce-able to a stereotype. It also did a particularly good job of building the era around Browning, from the late 19th century, into the early days of film, to the 20s and Great Depression, then smidges into the 40s until Browning's death in 62. The births and deaths of several eras.
A recommended read if you're into film history or the 1910s-1930s in general.
I feel like this book did a good job of showing not the kind of person that Tod Browning was, but showing him as a complex person, not easily reduce-able to a stereotype. It also did a particularly good job of building the era around Browning, from the late 19th century, into the early days of film, to the 20s and Great Depression, then smidges into the 40s until Browning's death in 62. The births and deaths of several eras.
A recommended read if you're into film history or the 1910s-1930s in general.
December 16, 2023
It was the cover and the title that lured me into this book. Was it worth it? Well, you got the big picture on Tod Browning here! The director vanishes, certified public spectacles, shadows of Babylon, all sinister and deadly (murderous midgets, crippled thieves...), Transylvania (with Bela and Dracula). Here we have the first excellent photo section. Offend one and you offend all, Malibu after midnight, more stills from legendary films and as a closure the complete filmography. Many secrets were uncovered but not all. Great read (old black and white pictures are swirling in my head). Highly recommended!
December 6, 2024
Excellent analysis and history of one of the edgiest directors in film. Being that he was also one of the films earliest directors and his edgy status still stands makes it that much more impressive.
Dark Carnival is slightly academic and only speculates on many aspects of Browning that he never shared with anyone, but it's quite in depth for what can be known about the man who refused interviews and even discussing his work in Hollywood after he was "retired".
Great insight about his horror masterpieces, and his carnival experiences that influenced his work throughout an amazing career.
Dark Carnival is slightly academic and only speculates on many aspects of Browning that he never shared with anyone, but it's quite in depth for what can be known about the man who refused interviews and even discussing his work in Hollywood after he was "retired".
Great insight about his horror masterpieces, and his carnival experiences that influenced his work throughout an amazing career.
October 26, 2017
Given the limited resources available, and the trend to completely discredit Browning as a director, this is a much-needed overview of the man and his work. The book is much shorter than it looks, given that nearly half of it is an expanded filmography with plot descriptions, but it works as a fantastic argument that, while his films do have some major technical issues, Browning had singular obsessions and was very much the guiding force in his works.
March 16, 2025
The life and work of Tod Browning, a man who dared to showcase otherness when the world, evidently, wasn't ready for it.
Great care is taken to examine not only his filmography but also his own fascination with the circus, including joining that life when they came through Louisville KY and never looking back.
As Skal states, "The show left town, and so, supposedly did Tod", to the delight of all his fandom.
Great care is taken to examine not only his filmography but also his own fascination with the circus, including joining that life when they came through Louisville KY and never looking back.
As Skal states, "The show left town, and so, supposedly did Tod", to the delight of all his fandom.
March 16, 2025
A mostly well-written, engaging recount of Browning’s career and some of his private life. Full of interesting information, with the occasional factual error in reference to John Gilbert’s career and death. The book’s not about him, so that doesn’t matter much, but he’s my bbg so I’m still gonna be irked about it.
March 12, 2020
Loved this book. Mr Browning was an interesting person. The only fault with this book is why did he make the movies he made? Would have liked to know more about his after Hollywood life. A read very much worth the time.
April 27, 2025
Fun Facts Abound.
Very thorough and well-laid out documentation of the life of director Tod. Browning and those he entangled, including Lon Chaney.
I listened on Audible and very much enjoyed the reading.
Very thorough and well-laid out documentation of the life of director Tod. Browning and those he entangled, including Lon Chaney.
I listened on Audible and very much enjoyed the reading.
September 24, 2021
I read it some years ago, And I was really impressed. Unfortunately, todas os imposible to get a copy un spanish, i have to go to a library to consult it
March 17, 2023
It was worth reading the book just for the Herman J. Mankiewicz story.
October 17, 2023
A part of me wishes I could’ve started here with Skal’s work. Terrific details about Browning here; unsentimental but fair.
wish-list
January 12, 2024David Skal, R.I.P. (1952-2024)
https://www.hollywoodlanews.com/david...
blessed be.
https://www.hollywoodlanews.com/david...
blessed be.
September 30, 2025
An interesting read about a man that was a bit of a secret. If you are a fan of his work, this is definitely one to check out.
October 6, 2025
This is an excellent biography of one of the early horror film direcors.Lots of research and photos.One of the best directors biography I have read.
April 22, 2025
I knew Tod Browning's name primarily as the director of Freaks which was still showing in theaters in the eighties on the cult freak circuit, and was released to video which is how I saw it. I had no idea that he directed Dracula [how is that not mentioned in Ed Wood?] or that he practically invented the horror genre in America.
It is hard to believe there was so much resistence to blood and gore on the part of the studios because Browning's early silent films with Lon Chaney did well at the box office. In fact, the stereotypical female vampire look that came to be standard originated with Browning's films, which I would describe as "the Lily Munster look." It was a radical departure because nobody in the 1920s had long straight hair parted in the middle.
Most of the information presented here would be of interest to anyone studying the horror film genre. There are few biographical details because the director famously refused to give interviews or keep journals. All we have are recollections from co-workers and nieces and nephews of siblings and other family members he rarely saw. By all accounts he was a pretty unpleasant person.
There were some funny stories about the making of Freaks and how the circus folk were banned from the studio commissary so others could eat their meals "without throwing up." Browning, however, treated them better than the "normal" members of the cast.
It is hard to believe there was so much resistence to blood and gore on the part of the studios because Browning's early silent films with Lon Chaney did well at the box office. In fact, the stereotypical female vampire look that came to be standard originated with Browning's films, which I would describe as "the Lily Munster look." It was a radical departure because nobody in the 1920s had long straight hair parted in the middle.
Most of the information presented here would be of interest to anyone studying the horror film genre. There are few biographical details because the director famously refused to give interviews or keep journals. All we have are recollections from co-workers and nieces and nephews of siblings and other family members he rarely saw. By all accounts he was a pretty unpleasant person.
There were some funny stories about the making of Freaks and how the circus folk were banned from the studio commissary so others could eat their meals "without throwing up." Browning, however, treated them better than the "normal" members of the cast.
February 28, 2023
I read this book when it was first released back in 1995 and I just revisited it by listening to the new audiobook edition. It is read by the author David Skal. This wasn't an easy subject for the author as Tod Browning was secretive and enigmatic. He never discussed his life or career and did not give interviews. There was also little correspondence to consult. Skal's research came from interviews with Browning's co-workers and family members as well as newspaper and tradepaper accounts. The resulting book is illuminating and highly entertaining for classic film fans.
The book covers Brown's childhood and his stint working in a traveling carnival, an experience that would be used in many of his films. This was followed by work in a burlesque revue and his eventual signing with the Biograph company where he worked as an actor and appeared in some of D.W.Griffith's films. A serious automobile accident that left him recuperating for almost two years set his acting career back and he used the time to experiment with script writing. After he returned to work, he began directing in the late 1910s and eventually worked with Lon Chaney on numerous projects in the late 20s. His successes were notable, particularly with "The Unholy Three" (1925) (currently available on Amazon Prime Video) and "The Unknown" (1927).
Browning's career is sound films started promisingly and he achieved great acclaim with "Dracula" (1931), a critical and financial success. Unfortunately, his success was short-lived after the release of his next feature, "Freaks" (1932). The film, now considered a classic, shocked audiences at the time and was ridiculed upon its release and banned in some countries. He only made a handful of films during the remainder of the 30s although excellent ones ("Mark of the Vampire" (1935) and "Devil Doll" (1936) are highly recommended). He made one last film in 1939, "Miracles For Sale", and then retired to his Malibu home where he lived as a recluse for the next twenty years of his life.
The book is filled with interesting facets, like the fact that Browning's carnival work included an act in which he was buried alive (they would drop snacks down to him through a tube in the coffin!). Accounts of Browning's relationships with co-workers and friends are mixed and most are not flattering (he pushed his crew mercilessly). Browning's retirement years are surprisingly detailed and include interesting tidbits as to how he spent his time and his dealings with friends and neighbors.
The book covers Brown's childhood and his stint working in a traveling carnival, an experience that would be used in many of his films. This was followed by work in a burlesque revue and his eventual signing with the Biograph company where he worked as an actor and appeared in some of D.W.Griffith's films. A serious automobile accident that left him recuperating for almost two years set his acting career back and he used the time to experiment with script writing. After he returned to work, he began directing in the late 1910s and eventually worked with Lon Chaney on numerous projects in the late 20s. His successes were notable, particularly with "The Unholy Three" (1925) (currently available on Amazon Prime Video) and "The Unknown" (1927).
Browning's career is sound films started promisingly and he achieved great acclaim with "Dracula" (1931), a critical and financial success. Unfortunately, his success was short-lived after the release of his next feature, "Freaks" (1932). The film, now considered a classic, shocked audiences at the time and was ridiculed upon its release and banned in some countries. He only made a handful of films during the remainder of the 30s although excellent ones ("Mark of the Vampire" (1935) and "Devil Doll" (1936) are highly recommended). He made one last film in 1939, "Miracles For Sale", and then retired to his Malibu home where he lived as a recluse for the next twenty years of his life.
The book is filled with interesting facets, like the fact that Browning's carnival work included an act in which he was buried alive (they would drop snacks down to him through a tube in the coffin!). Accounts of Browning's relationships with co-workers and friends are mixed and most are not flattering (he pushed his crew mercilessly). Browning's retirement years are surprisingly detailed and include interesting tidbits as to how he spent his time and his dealings with friends and neighbors.
February 1, 2017
I'm giving this a "liked it" rating even though it probably only deserves an "ok" because it's the only biography that I know of the fascinating director of Freaks, West of Zanzibar, Dracula (and the superior though lesser-known Mark of the Vampire) etc.
My main gripe with the book is that the analysis is a bit half-assed. For example a one-eyed man in one of Browning's silent films is clearly "phallic." This paint-by-numbers method doesn't even come close to justifying the condescension inherent in such an approach. It's too bad because there's certainly room to interrogate Browning's recurring images and themes (even from a Freudian perspective), as he seemed to obsess over the details of perverse tableaux and then (barely) flesh in the plot and characters around them, as illustrated by my favorite anecdote from Dark Carnival:
Dietz remembered Browning's pitch to Mankiewicz: "You don't have to write anything - just answer one question correctly and you'll get screen credit."
Browning then related the scene:
'It opens with Lon Chaney wearing a white wig and an inverness cape, playing "The Last Rose of Summer" on the violin. He is blind and has a tin cup hooked onto him, and the crowd divides before him as he slowly walks into a measured tempo while scratching away at his fiddle. He continues on his way and suddenly darts down five or six steps in front of a brownstone house. He taps a mysterious code on the door and rings a doorbell in between taps. The door is opened. We hear strange screams from inside. [Metro, by this time, was recording synchronized music and sound effects for its silent films.] Lon Chaney removes his white wig and inverness cape and appears in a complete surgical outfit. He enters the room from which the screams emerge, the screams get louder and Chaney gets covered with blood. The prison-like cells are filled. We see him cutting off the heads of a dozen nude ladies. He also cuts off the heads of a dozen apes.
The Director's dilemma: "What business is he in that he wants to do this?"'
So not a bad book, and worth reading for fans of classic horror cinema, but it's also a little disappointing.
My main gripe with the book is that the analysis is a bit half-assed. For example a one-eyed man in one of Browning's silent films is clearly "phallic." This paint-by-numbers method doesn't even come close to justifying the condescension inherent in such an approach. It's too bad because there's certainly room to interrogate Browning's recurring images and themes (even from a Freudian perspective), as he seemed to obsess over the details of perverse tableaux and then (barely) flesh in the plot and characters around them, as illustrated by my favorite anecdote from Dark Carnival:
Dietz remembered Browning's pitch to Mankiewicz: "You don't have to write anything - just answer one question correctly and you'll get screen credit."
Browning then related the scene:
'It opens with Lon Chaney wearing a white wig and an inverness cape, playing "The Last Rose of Summer" on the violin. He is blind and has a tin cup hooked onto him, and the crowd divides before him as he slowly walks into a measured tempo while scratching away at his fiddle. He continues on his way and suddenly darts down five or six steps in front of a brownstone house. He taps a mysterious code on the door and rings a doorbell in between taps. The door is opened. We hear strange screams from inside. [Metro, by this time, was recording synchronized music and sound effects for its silent films.] Lon Chaney removes his white wig and inverness cape and appears in a complete surgical outfit. He enters the room from which the screams emerge, the screams get louder and Chaney gets covered with blood. The prison-like cells are filled. We see him cutting off the heads of a dozen nude ladies. He also cuts off the heads of a dozen apes.
The Director's dilemma: "What business is he in that he wants to do this?"'
So not a bad book, and worth reading for fans of classic horror cinema, but it's also a little disappointing.
March 13, 2025
The life of one of cinema's most willfully obscure auteurs is the subject of this incredible biography. From his childhood in Louisville, Kentucky to his collaborations with the great Lon Chaney in a string of silent film classics to his triumph with the original 1931 Dracula only to be followed by the equally great but divisive Freaks, Tod Browning's career was certainly a rollercoaster ride. This book gives some insights into what drove Browning to pursue such a reckless trajectory, yet certain aspects of what led to his self-imposed exile remain unanswered, perhaps permanently.
October 27, 2007
As a child I was allowed to see any movie - even the most vile porn! But my Mother would never let me see Tod Browning's film "Freaks." So my entire life was sort of based in seeing the unknown, the strange, and untouchable "Freaks."
When I saw it as a teenager, I was not disappointed. It's a masterpiece. And Browning is one hell of an interesting egg. A guy from the Circus Carney world that made films - and his work is extremely dark. Lon Cheney was his instrument of choice - and the two of them made fantastic work.
This is really an important biography on a very very important artist.
When I saw it as a teenager, I was not disappointed. It's a masterpiece. And Browning is one hell of an interesting egg. A guy from the Circus Carney world that made films - and his work is extremely dark. Lon Cheney was his instrument of choice - and the two of them made fantastic work.
This is really an important biography on a very very important artist.
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