Mad Love

When acclaimed concert pianist Stephen Orlac (Colin Clive) is in a terrible accident, his hands are crushed and must be amputated. His wife Yvonne (Frances Drake) appeals to the brilliant Dr. Gogol (Peter Lorre) to use his surgical genius to save Stephen's hands. Gogol accepts as he's madly in love with Yvonne, but instead of saving Stephen's hands, he replaces them with those from an executed murderer.

This was Lorre's first American film, and one of his very best performances ever. He's at once menacingly creepy and pathetically sympathetic, a brilliant mind trapped in an ugly body, deeply in love with someone he can never have. I also really like Drake as the object of affection, beautiful, classy and empathetic. Lorre's costume late in the film is a visual highlight of 1930's film, and the moody cinematography is excellent. Recommended.

In Paris, creepy bald-headed Peter Lorre (as Doctor Gogol) visits the incredibly realistic wax museum figure of beautiful scream queen Frances Drake (as Yvonne). Later, Mr. Lorre is consumed with orgasmic desire as he watches the real Ms. Drake perform on stage as a tortured victim. Backstage, the actress is flattered by the renown surgeon's admiration. But, Lorre is devastated to learn Drake will be leaving for England with pianist husband Colin Clive (as Stephen Orlac).

En route, Mr. Clive's hands are wounded in a train wreck. Called in to operate, Lorre decides to amputate Clive's hands and sew on the hands of a recently decapitated murderer. Poor Clive loses his piano-playing ability, but gains other talents… The whole "hand transplant" machinations never grabbed me or aided in my suspension of disbelief; but "Mad Love" is stylish, has Karl Freund directing, and Lorre is an amazing sight for sore eyes. Also watch for the Yvonne's maid Sara Haden (as Marie), who can really hold her own.

******* Mad Love (7/12/35) Karl Freund ~ Peter Lorre, Frances Drake, Colin Clive, Ted Healy

German actor Peter Lorre made his American film debut in "Mad Love," which I believe was an MGM release and proved to be competition for some of the popular Universal Horror films of the time. Peter Lorre had made his epic debut with 1930's "M," in which Peter amazingly played a child-killer under director Fritz Lang. Peter is a demonic performer if their ever was one, and every memorable scene in this film has Peter's lonely mad doctor character at the helm. Peter is very much in love with a stage actress who is preparing to marry a popular pianist, and all of this gets in the way of Peter's fantasy to have the woman all for himself. A train accident occurs, which leaves the pianist with little hope, but it is Peter the doctor who goes about replacing the pianist's hands with those of a dead criminal, whom Peter himself had watched the beheading of a few days before the train accident. Things take a very silly turn, when the hands somehow take over the very personality of the pianist, and Peter's mad doctor plays the innocent with the pianist, while at the time, telling his actress girlfriend that he is simply mad and that she should stay far and away from him. I would rather not mention how the story unfolds, because that would ruin the good fun for those who have yet to watch this feature, but I must admit that the ending is very funny in a sad way, and there's so much going on with Peter's sanity throughout the film. Worth seeing for a variety of different reasons, so watch it.

This adaptation of Renard's The Hands of Orlac is quite good, yet a bit on the stagy side. It is one of Peter Lorre's early films and his first for Hollywood. Lorre is quite good, and almost sympathetic in a way, as a surgeon who has hopelessly fallen in love with the wife of a great pianist. Colin Clive of Frankenstein fame plays the musician, and Frances Drake plays his rather annoying, overacting wife. The visuals of the film are first-rate, as it was directed by great cameraman Karl Freund. Ted Healy adds some unnecessary comic relief. What I liked best about the film was the staging of the story against some beautiful expressionistic sets and Freunds expressive camerawork.

The legendary Karl Freund is definitely better known for his highly innovative work as director of photography, resulting in an extensive career (spanning across 5 decades) of beautiful and pioneering cinematography. With a body of work as impressive as his (ranging from Lang's "Metropolis" to TV's classic "I Love Lucy"), it is understandable that Freund's work as a director gets so easily forgotten. The fact that he only directed 10 films in his career also plays an important factor in this, however, at least 2 of his directorial efforts easily rank among the best horror movies ever made. The first one of the two (incidentally, his first work as a director in America), 1932's "The Mummy" is really the most popular, given that it is also one of the best performances by horror icon Boris Karloff; however, it is in the second one where Freund's talents really shine, making this last movie as a director his final masterpiece.

Loosely based on Maurice Renard's novel, "Les Mains d'Orlac" (literally, "The Hands of Orlac"), "Mad Love" is the story of Dr. Gogol (Peter Lorre), a brilliant surgeon deeply in love with a beautiful theater actress named Yvonne Orlac (Frances Drake). When season ends, Yvonne announces her retirement, and this prompts Gogol to finally meeting her. Unfortunately for Gogol, Yvonne tells him that she is actually married to concert pianist Stephen Orlac (Colin Clive). Saddened, Gogol leaves, but a bizarre turn of events will make him meet Yvonne one more time: Stephen has lost his hands in a terrible train accident and only Gogol's expertise will be able to save him. While he saves Stephen's hands, the operation begins to have serious side-effects, not only in Orlac, but also in Gogol.

While the screenplay was written by P.J. Wolfson, John L. Balderston and the usual assortment of contributing writers, the movie is mostly the work of Guy Endore and Florence Crewe-Jones, who made the adaptation from the French novel. Endore was a regular writer for MGM at the time, and helped to write other MGM's horrors like "Mark of the Vampire", "The Raven" and "The Devil-Doll"; it is his style, mix of Gothic and pulp novel what flows through the movie, although he remains true to the essence of Renard's classic horror novel. Renard is often credited as being the "inventor" of the Mad Scientist archetype, and truly gives a great use to it in his novel; appropriately, "Mad Love" keeps this psychological drama between characters and brings it to life, spending considerable time detailing the characters and their relationships, building up the necessary tension for the grandiose finale.

After directing several melodramas and comedies in a row, "Mad Love" allowed Freund to once again return to his expressionist roots and create a haunting tale of horror and madness in almost the same vein as his earlier classic, "The Mummy". Unlike what would be expected of a cinematographer, Freund dedicates as much attention to the non-visual aspects of the film as he does for the visual imagery, playing with the many different elements that form the bizarre love triangle of the film. The story itself focuses a lot in psychological themes, ranging from neurosis and hysteria, to compulsive obsession and dangerous psychosis; Freund makes great use of this themes across the movie, although it is obvious that he prefers the character of Dr. Gogol to the other protagonists of the film. Like Im-Ho-Tep the mummy, Dr. Gogol is driven by the mad love he feels for a woman, but unlike with the mummy, Freund makes sure to never fully transform Gogol into a monster, making him very human and frighteningly realist.

Peter Lorre's acting is essential for this last element in Gogol's persona, and he delivers one of this most amazing performances in his career. While lesser known than his characters in "M" or in "The Maltese Falcon", Dr. Gogol is certainly an iconic Lorre character that truly showcases Lorre's versatile talent. Frances Drake is surprisingly great, showing great emotion and excellent domain of the scene, giving her best to avoid being overshadowed by Lorre in their scenes together. Colin Clive, who would become famous as Dr. Victor Frankenstein in James Whale's films, delivers a truly effective performance as Orlac, but I found that Freund seems definitely much more interested in Dr. Gogol and his antics than in the pianist's neurosis, leaving few space to Orlac's growing insanity. Still, Clive does a very good performance despite the limited screen time his character receives when compared to Gogol.

It is probably this last point what truly stops this movie from being a classic of horror, as with a runtime of barely 68 minutes, it feels too short and gives the feeling that something was missing (perhaps a few more scenes with Colin Clive) in this psychological thriller. It's not really a big flaw in the end, but I truly was expecting to see the wonderful story being explored a bit more, as personally I felt it somewhat incomplete. On a different business, and as expected in a film by Karl Freund, the cinematography is simply brilliant, Chester A. Lyons and Freund's protegé, Gregg Toland (who would become a legend on his own), are in charge of it and devise one of the most beautifully looking horror of the 30s, easily on par with Freund's job for Universal.

It's a shame that studios were more interested in Freund's work as a cinematographer, because "Mad Love" proves that there he truly had talent as a director too. Who knows what would Freund had directed after this movie, specially considering the great improvements in cinematography he went on devising through his long and successful career. As it is, "Mad Love" is the final statement of a master who simply wasn't allowed to make more films (although who knows, probably he wasn't interested in directing), but it is nice to see him retiring with a top notch masterpiece. 9/10