Editing Tod Browning (section)

=== ''Iron Man'' (1931) ===
The last of Browning's three sound films he directed for Universal Studios, ''[[Iron Man (1931 film)|Iron Man]]'' (1931) is largely ignored in critical literature.<ref>Herzogenrath, 2006 p. 16: "Browning's boxing drama Iron Man is one of the rarely discussed movies of this cinematic auteur (italics)."</ref><ref>Grindon, 2006 p. 173: "Neither Stuart Rosenthal nor Elliott Stein discusses the picture in their profiles of the filmmaker...David J. Skal and Elias Savada...fail to mention the title" in their index" of Browning's films.</ref>

Described as "a cautionary tale about the boxer as a physically powerful man brought down by a woman",<ref name=":12">Grindon, 2006 p. 173</ref> Browning's boxing story lacks the macabre elements that typically dominate his cinema.<ref>Grindon, 2006 p. 173: Iron Man is "an important but neglected film among Browning's ourve...the film has been neglected in the critical literature, probably because it lacks the macabre quality for which Browning's films are known."</ref> Film historian Vivian Sobchack observes that "Iron Man, in subject and plot, is generally regarded as uncharacteristic of Browning's other work."<ref name=":6" /> Thematically, however, the picture exhibits a continuity consistent with his obsessive interest in "situations of moral and sexual frustration."<ref>Rosenthal, 1975 p. 9</ref><ref>Herzogenrath, 2006 p. 16: "...the thematic continuity between Browning's more famous tales of grotesque horror and this boxing film. The moral and sexual frustrations that Stuart Rosenthal argues are central to Browning's work are readily apparent."</ref>

Film critic Leger Grindon cites the four "subsidiary motifs" recognized by Browning biographer Stuart Rosenthal: "appearances hiding truth (particularly physical beauty as a mask for villainy), sexual frustration, opposing tendencies within a protagonist that are often projected onto alter egos and finally, an inability to assign guilt." These themes are evident in Iron Man.<ref>Grindon. 2006 p. 175</ref><ref>Rosenthal, 1975 pp. 8–9: "obsessive" and "compulsive." And pp. 23–43 for Rosenthal's discussion of these four themes.</ref>

Actor [[Lew Ayres]], following his screen debut in Universal's immensely successful anti-war themed ''[[All Quiet on the Western Front (1930 film)|All Quiet on the Western Front]]'' (1930), plays Kid Mason, a [[Lightweight]] boxing champion. This sports-drama concerns the struggle between the Kid's friend and manager George Regan [[Robert Armstrong (actor)|Robert Armstrong]], and the boxer's adulterous wife Rose ([[Jean Harlow]]) to prevail in a contest for his affection and loyalty.<ref>Grindon, 2006 p. 175: "Jean Harlow's golddigging vamp is avaricious, aspiring and sexually predatory." Caption for photo.</ref>

Rather than relying largely upon "editing and composition as expressive tools" Browning moved away from a stationary camera "toward a conspicuous use of camera movement" under the influence of [[Karl Freund]], cinematographer on the 1931 [[Dracula (1931 English-language film)|''Dracula'']]. Iron Man exhibits this "transformation" in Browning's cinematic style as he entered the sound era.<ref>Herzogenrath, 2006 p. 16</ref> Leger Grindon provides this assessment of Browning's last picture for Universal:
{{blockquote|''Iron Man'' is not an anomaly in Tod Browning's career; rather, it is a work that testifies to the continuity of his thematic concerns, as well as showcasing his growing facility with the camera after his work with [cameraman] Karl Fruend...<ref>Grindon, 2006 p. 178</ref>}}

Though box office earnings for ''Iron Man'' are unavailable, a measure of its success is indicated in the two remakes the film inspired: ''[[Some Blondes Are Dangerous]]'' (1937) and ''[[Iron Man (1951 film)|Iron Man]]'' (1950).<ref name=":12" />

Browning returned to MGM after completing ''Iron Man'' to embark upon the most controversial film of his career: ''Freaks'' (1932).<ref>Baxter, 1970 p. 100: "Browning left Universal and joined Metro [after completing The Iron Man]. MGM appears frequently in the Thirties as a producer of horror films..."</ref><ref>Harvey, 2009: "Dracula's enormous popularity fast-tracked Browning's return to MGM, under highly favorable financial terms and the protection of longtime ally, production chief Irving Thalberg.</ref>