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	Tod Browning - Wikipedia, the free encyclopedia
		Tod Browning was born in Louisville, Kentucky, the second son of Charles and Lydia Browning.
		Browning's first talkie was The Thirteenth Chair (1929), which was also released as a silent and starred Bela Lugosi.
		Although Browning wanted to hire an unknown European actor for the title role and have him be mostly offscreen as a sinister presence, budget constraints and studio interference necessitated the casting of Bela Lugosi and a more straightforward approach.
	en.wikipedia.org /wiki/Tod_Browning (1188 words)

	Steven E. Alford Book Review
		Browning apparently abandoned his wife for vaudeville, and, after a murky period of traveling, he reappeared in Hollywood, with Alice Watson who, in 1917, became his second wife, and remained so until her death in 1944.
		Browning's big break (although he didn't know it at the time) came in 1914, when Browning was assigned as an assistant director to one of the sections of D. Griffith's Intolerance, his famous, but almost unwatchable follow-up to Birth of a Nation.
		Browning was diagnosed with cancer of the larynx in 1962, and underwent an operation.
	www.nova.edu /~alford/reviews/browning.html (782 words)

	The Ringmaster...Tod Browning (Site not responding. Last check: 2007-11-06)
		Later Charles Browning was enrolled at an all boys high school, but the lure of the sideshow was too strong and the young Browning left the school to fulfill his love for the carnival.
		Tod initially worked as a barker for the "Wild Man of Borneo", who was actually a fl man in make-up from Mississippi, but he soon turned his hand to any job to remain in the sideshows.
		Tod's speciality was to create films that blended together the ordinary and the perverse, either by placing the bizarre events in a common setting, or by putting ordinary characters in bizarre situations.
	www.missinglinkclassichorror.co.uk /tod.htm (2994 words)

	Tod Browning [1882 - 1962] @ EOFFTV
		After James Whale, Tod Browning is the most famous of the 1930s horror film directors, thanks largely to his work on the lacklustre Dracula [1931] and the wonderful Freaks [1932].
		Browning's father died and the director was plunged into a fit of depression which eventually led to alcoholism.
		Browning returned to Universal and, again under the auspices of Irving Thalberg, was re-teamed with Lon Chaney for The Unholy Three [1925].
	www.eofftv.com /names/b/bro/browning_tod_main.htm (1093 words)

	Tod Browning
		Browning later made a remake named "Mark Of The Vampire" with Bela Lugosi, with whom he already had worked together in his greatest film, "Dracula".
		Browning's first choice for the role of Dracula wasn't Bela Lugosi, he favored his old "partner" Lon Chaney instead.
		But Browning's fame was on the decline, and by 1936 he was no longer considered an "A" director, and so he retired after directing "Miracles For Sale" in 1939.
	www.vampyres-online.com /tod_browning.html (234 words)

	The Unknown
		Browning is best remembered for the milestone Dracula (1931), the first of the Universal horror films (for which Lon Chaney was originally offered the lead role but he deferred and then died) and Freaks (1932), the director's confronting rebuke for the representation of malformation by Hollywood, filmmaking, and the other arts.
		Browning's great strengths as a director lay in his ability to draw memorable performances from his cast and to create a believable world despite the mounting absurdities of the plot and the world in which his characters lived.
		Browning's interest in outsiders and the rejected was no doubt nurtured by his time in the circus, and he well understands the audience's attraction to this image of the dark underbelly of carnival life, hidden by the masquerade of gaiety.
	www.sensesofcinema.com /contents/cteq/01/16/unknown.html (1223 words)

	The Films of Tod Browning
		Tod Browning's Outside the Law (1921) has recently been released on video, due to the presence of Lon Chaney in a dual supporting role.
		Blackie leads a prison strike which he strives to keep non-violent; this is one of the most sympathetic descriptions of a strike found anywhere in crime fiction, and it appeared at the start of a period of major labor unrest in the United States.
		Browning includes two action scenes in the film, one toward the beginning, and one at the end.
	members.aol.com /MG4273/browning.htm (1945 words)

	Tod Browning (Site not responding. Last check: 2007-11-06)
		Tod Browning was born in Louisville, EHandler: no quick summary.
		Although Browning wanted to hire an unknown European actor for the title role and have him be mostly offscreen as a sinister presence, EHandler: no quick summary.
		Mark of the vampire is a 1935 horror film, starring lionel barrymore, elizabeth allan, bela lugosi, and lionel atwill, and directed by tod...
	www.absoluteastronomy.com /encyclopedia/t/to/tod_browning.htm (2503 words)

	Tod Browning
		Tod was an intensely mysterious, extremely private man. He directed two of the most famous horror films of all time: Dracula, and my personal favorite, Freaks.
		Lucky knew little of Browning's Hollywood life, but the two were drinking buddies and the pact was made while Tod was still alive.
		Tod was cremated at Woodlawn cemetery, and inurned in Rosedale Cemetery.
	www.findadeath.com /Deceased/b/todbrowning/tod_browning.htm (484 words)

	Freaks (1932) directed by Tod Browning
		At the tender age of sixteen, Tod Browning fell in love with a young dancer and ran away to join the circus.
		When Chaney died of cancer during preproduction, Browning was forced to look elsewhere for a leading man. He decided to take a chance on dashing Hungarian stage star Bela Lugosi, and as anyone with half a brain knows, his casting crapshoot became the stuff of movie legend.
		Browning's career was as good as over; after spitting out a handful of mostly forgettable pictures, he retired to Malibu, where he spent the next three decades slowly drinking himself to death.
	www.dantenet.com /er/ERchives/reviews/f_reviews/freaks.html (937 words)

	Sample text for Library of Congress control number 95014870
		Tod Browning had one of Hollywood's most singular careers, with a tremendous shaping influence on two significant American genres: the gangster picture and the horror film--not to mention their stylish cinematic nuptials in noir.
		Drinking, in Tod Browning's life, amounted to more than just a personal weakness; it precipitated two catastrophes that not only affected his own life but set in motion changes in a career that would have an outsize impact on the future of American film.
		Browning's critical reception was, and is, equally mixed: to some, he was an unassailable auteur of cinematic darkness; to others, he was a cynical hack, who mined the same thematic material over and over, not to any artistic purpose, but simply out of creative laziness.
	www.loc.gov /catdir/samples/random041/95014870.html (1724 words)

	Silent Star of June
		Lesser known is Browning's beginnings in the silent era, as a stock player in nickelodeon melodramas, to Griffith cast member, and director of the greatest character player ever, Lon Chaney.
		The film was the culmination of Browning's youth and fascination with society's "misfits." Reteamed with Chaney, the film was a success, leading to a contract for Browning and a collaboration that would result in London After Midnight, the most profitable of all their films together.
		Tod Browning died October 5, 1962 at the age of 82.
	www.csse.monash.edu.au /~pringle/silent/ssotm/Jun96 (939 words)

	Tod Browning Biography :: Hollywood.com (Site not responding. Last check: 2007-11-06)
		Tod Browning helped to create the genre now known as "horror films" as evidenced by his ten-film collaboration with actor Lon Chaney, the first sound version of "Dracula" (1931, starring Bela Lugosi) and most particularly with what is arguably his master work "Freaks" (1932).
		Browning's use of camera angles and shifts in perspective heighten the film's tension and prefigure many of the techniques now commonplace in suspense films.
		Browning was making a statement: in his collaborations with Chaney, a "normal" man becomes mutilated and turns into a monster, with "Freaks", the process is reversed.
	www.hollywood.com /celebs/fulldetail/id/199378 (1891 words)

	Tod Browning (Site not responding. Last check: 2007-11-06)
		It was Browning's collaborations with Lon Chaney that pulled him from the rank and file to a position as one of Hollywood's bankable directors.
		Browning's camera again remains static; much of the film is shot in tableaux, and technically it appears to be from an earlier period.
		Browning's two best directorial efforts in sound horror film are usually obscured by the reputations of DRACULA and FREAKS.
	www.caravan.demon.co.uk /articles/browning.htm (517 words)

	Freaks (1932)
		Most of the time director Tod Browning creates pathos for the film's parade of dwarves and midgets, Siamese twins, bearded ladies, half-men half-women, human skeletons, a boy that only exists from the waist up and walks on his hands and so on.
		Here Browning's sympathies are clearly with the freaks and deformities - all of his great collaborations with Lon Chaney during the silent era are films that build their effect out of Chaney undergoing remarkable chameleon-like performances to portray deformed people.
		Tod Browning's other genre films are:- the lost vampire film London After Midnight (1927) and the incredibly perverse love and amputation story The Unknown (1927), all featuring Lon Chaney [Sr].
	www.moria.co.nz /horror/freaks.htm (888 words)

	Harvard Film Archive: Directors in Focus (Site not responding. Last check: 2007-11-06)
		A half-century before the emergence of such modern masters of the macabre as the Italians Mario Bava and Dario Argento or the Americans George Romero and John Carpenter, there was Tod Browning, who made studio-backed films in Hollywood that remain benchmarks of the horror genre.
		Among the rarest of Browning’s films, The Blackbird is a striking example of the creative process the director employed, in which the narrative evolves from the psychological and physical consequences of the grotesque character he creates.
		Browning had successfully worked in the vampire genre with Chaney, releasing one of their major films, London after Dark, in 1927.
	www.harvardfilmarchive.org /calendars/03_fall/browning.html (356 words)

	Freaks (1932) (Site not responding. Last check: 2007-11-06)
		Tod Browning (1931's Dracula) directs this landmark movie in which the true freaks are not the story's sideshow performers, but "normals" who mock and abuse them.
		Browning, a former circus contortionist, cast real-life sideshow professionals.
		We learn about the origins of the film and Browning’s path to it, casting the regular humans, perspectives on fascination with different forms of people and the particulars of sideshows, details about the various “freaks”, production notes, reactions to the film and its legacy.
	www.dvdmg.com /freaks.shtml (1911 words)

	Atrocities Cinema.com...DVD Review...Tod Browning's "Freaks"
		Tod Browning was one hell of an interesting fellow.
		Browning, for those of you not "in the know", was the auteur of not only one of cinema's most enduring films, but by proxy the originator of some of the Horror Genre's most important and enduring sets of images.
		Browning was a guy who, due in no small part to his years as a carnival pitch-man (or "barker", if you will), had quite a unique perspective on what people found repulsive, frightening, and generally disturbing.
	www.atrocitiescinema.com /DVD/freaks.html (1074 words)

	Browning - Wikipedia, the free encyclopedia
		Look up Browning, browning in Wiktionary, the free dictionary.
		It is a process for protecting steel against rust, where browning is an older method for bluing.
		And in cooking, browning refers to the Maillard reaction.
	en.wikipedia.org /wiki/Browning (137 words)

	The Making of "Freaks": The events leading up to the creation of Tod Browning’s classic film.
		Browning had known of the story for years through his friend Harry Earles, the German midget who had given a memorable performance as the baby-faced pilferer in the director's exceptional thriller, THE UNHOLY THREE (1925), based on a "Tod" Robbins novel.
		As far as Browning was concerned, he had for some time wanted to direct a picture that would dig into the private lives of the freaks around the sideshow.
		While Tod Browning, and to some extent Irving Thalberg, can only posthumously and belatedly be honored with the knowledge that their macabre sophistication was not at fault, but rather many years ahead of their time, fitting homage is paid to Browning by many contemporary audiences who continuously salute his creative abilities.
	www.olgabaclanova.com /the_making_of_freaks.htm (3155 words)

	Silent Star of June
		Little is known for sure of his life as a young man, but what is known is that Tod Browning spent great chunks of time travelling with sideshows, carnivals, and street fairs, whose life, people, and attitudes were to become recurrent theme throughout his films.
		If ever a script was tailor-made for Tod Browning, it was this: the story of a midget, a strongman, and a ventriloquist whose identity has merged with his dummy who scheme against society.
		Browning made the transition to talkies with a dual production of The Thirteenth Chair, made as both a silent and a talkie.
	www.csse.monash.edu /~pringle/silent/ssotm/Jun96 (939 words)

	Guardian Unlimited Film \| Features \| Tod Browning: Freaks
		It's difficult to see Tod Browning's 66-year-old Freaks, even though it has the reputation of being one of the masterpieces of baroque cinema.
		While it is clear that Browning wants us to regard the attractive Cleo and Hercules as the villains of the piece, the chase scene, with the circus performers crawling and slithering through the wood, creates horror and unease.
		Browning never did, but then he never had the chance since Freaks was a flop and Thalberg regrettedhe hadn't listened to those at MGM who warned him against it.
	film.guardian.co.uk /Century_Of_Films/Story/0,4135,42344,00.html (631 words)

	PULP CULTURE for AUG. 19, 2004: Tod Browning's 'Freaks' still has power to shock audiences
		Browning had hired real-life sideshow performers to fill the roles of circus freaks.
		Although some critics accuse Browning of exploiting his cast of human oddities, "Freaks" treats them with great respect, especially considering the year in which it was made.
		Browning deserves credit for taking the commercial risk of casting two little people, Earles and his sister Daisy, in the pivotal roles of Hans and his long-suffering wife, Frieda.
	home.hiwaay.net /~tfharris/pulpculture/columns/040819.shtml (710 words)

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