A Filmmaker's Guide to: Peter Lorre

In this chapter of ‘the filmmaker’s guide’ we’re actually going to be learning about literature and film together. I understand that many of you are sitting in university during difficult times and finding it increasingly hard to study and I understand that many of you who are not at university or not planning on it are possibly stuck of what to do, need a break or even need to catch up on learning film before you get to the next level. This guide will be brief but will also contain: new vocabulary, concepts and theories, films to watch and we will be exploring something taboo until now in the ‘filmmaker’s guide’ - academia (abyss opens). Each article will explore a different concept of film, philosophy, literature or bibliography/filmography etc. in order to give you something new to learn each time we see each other. You can use some of the words amongst family and friends to sound clever or you can get back to me (email in bio) and tell me how you’re doing. So, strap in and prepare for the filmmaker’s guide to film studies because it is going to be one wild ride.

Peter Lorre

Who is he?

Peter Lorre was an actor who was born in 1904 in Hungary. He began his acting career in Vienna in the 1920s early film scene of Austria and Germany and got into a friendship with Bertolt Brecht when he finally moved to Berlin. In the 1930s, he starred in Fritz Lang's child killer film "M" (1931), which is considered his breakout role. But during this time when the Germans were taking over, Lorre ran away to Paris and London because he was Jewish. Whilst in London, Hitchcock picked him up for "The Man Who Knew Too Much" (1934) - which is considered his breakout role for English Language Film. Later that year, he moved to the USA - heading straight for Hollywood.

What does he do in film?

Peter Lorre is known for playing either outcasted characters, creepy characters or characters that have been suspected of either criminal behaviour or insanity. Perfect for the role of an evil maniac, Peter Lorre is very well known for learning his roles meticulously and gaining notoriety for (as the Guardian Newspaper) put it: 'stealing every scene'. Let us take a look at some of his greatest films now, in order of their release:

M (1931) dir. by Fritz Lang

Portraying child killer Hans Beckert, Peter Lorre gives his all in terms of creepiness and villainy, solidifying himself as an actor of pure style and talent.

The Man Who Knew Too Much (1934) dir. by Sir Alfred Hitchcock

This is possibly one of my personal favourites starring Peter Lorre because he shows us exactly how far he can go in a noir film in terms of the criminal and the machiavellian. He kidnaps a child of a couple and holds her hostage and the shootout scene is just brilliant - everyone is afraid and they are afraid of him and his power.

The Maltese Falcon (1941) dir. by John Huston

Portraying the strange and detached Joel Cairo, this is a man who is willing to make deals to get the Falcon, but works for someone else. He accuses Humphrey Bogart's character (Sam Spade) of assaulting him and accuses Mary Astor as well. The scene where all three of them are in the hotel room really gives a picture of the true duplicity of his character.

Casablanca (1942) dir. by Michael Curtiz

Portraying a man called Signor Ugarte, Peter Lorre makes a run for it at the start of the film, giving a definite look at his character as some sort of criminal as others run after him. A brilliant, though smaller role in the film - he still manages to start the ball rolling.

Arsenic and Old Lace (1944) dir. by Frank Capra

The evil scientist role is basically perfect for Peter Lorre and honestly, in this film it is not exception. Portraying the paranoid Dr. Einstein, Peter Lorre is a plastic surgeon who does surgery on a murderer he works with so he won't get noticed or recognised. But, gets himself into serious trouble when he returns to the man's family home to find they're all crazy.

Conclusion

Peter Lorre is possibly one of the greatest actors of classic Hollywood and is underrated for his brilliant achievements in film as being able to portray a madman with such clarity and yet, such brilliance. In 1964, he had a stroke and passed away - but was never ever forgotten - living on through his incredible film roles.