Der Verlorene

This unique German noir is a weird film, to say the least. A doctor at a vaccination clinic makes an interruption in his work, when another doctor comes there to assist him, who is a dark shadow out of his past. During the war he was a researcher achieving great findings and results, and that suddenly appearing man was his assistant, stealing his research results and selling them to the enemy, using his betrothed for a bait, so he stole both his work and his fiancée. Peter Lorre is the doctor who can't forgive his betrothed for her treason, so he strangles her in the most sensitive scene of the film (without showing the strangulation - it is only reported afterwards,) and from that moment on he is a lost man. All this is shown in flashbacks, as Lorre has a long talk with his old colleague while drinking and smoking, sorting things out, to reach a settlement. The film and the story is complicated, the flashbacks are confusing, the story involves both Nazi plots, bombings of Hamburg, another improvised murder, proving the liability of the psychopath Peter Lorre has grown into, and everything is draped in very dark shadows and abysmal moods, the character of the film is apocalyptic, and shadows play an important part in the cinematography. It is fascinating and weird, deeply disturbing and melancholy at the same time, poignantly pinpointing the mood of post war Germany among the ruins of both Hamburg and people, in a world where no one can feel at home or safe or any security any more.

Der Verlorene is an extraordinary film noir not only as text but also in its context. This film disappeared after only ten days from german screens although most critics said that it´s the best german film after WW II. The reasons are very simple: First, it was too late. This film five years earlier in 1946 would have been the Trümmerfilm par excellance. Compare it to Die Mörder sind unter uns and you will see the huge difference. Second, in the upcoming era of Wirtschaftswunder no one in whole Western Germany wanted a reminder on what their industry and morality was build on: the Third Reich. Consider this, when Marlene Dietrich came back to Germany many people shouted: Go home! In the 1950s one producer said about Fritz Kortner: Hitler could have burnt more Jews. This way of thinking wasn´t elimated and still it´s not. Nowadays WW II is good for action flics (Saving Private Ryan and all this crap) or love stories (for example this desaster Enemy at the Gates). It´s depressing but one shouldn´t get mad over it. Just see Der Verlorene and you will see there were people how to handle this topic in an adequate manner. Maybe there are some filmmakers out there who still know. Let´s hope for it.

This is probably a good movie, but it's hard to tell because at many key moments throughout the movie it is difficult to read the subtitles. Because the movie is in black and white, white subtitles keep showing up on white background and so, unless you understand German, you only catch snatches of important conversations. This is particularly a problem in the last fifth of the movie that involves a scene in a large house where a plot to kill Hitler is being hatched (I think). What that had to do with Dr. Rothe (the Peter Lorre character) killing his fiancee and his subsequent choice about which Nazi to shoot I have yet to figure out. After the movie, I asked total strangers in the audience what was going on in that house and they didn't know either.

I suggest that any distributor who is looking to make some money from this movie should consider producing a new edition with yellow subtitles that will stand out on both black and white backgrounds. Without those, this will remain a movie that is well-known only in Germany.

Somehow Peter Lorre wanted to make a comeback in post war Germany with this movie. He plays the principal role in Der Verlorene, a little guy stumbling through the Nazi years in Germany and ending up just wanting to put an end to his life (apparently based on a true story). He also directed and participated in the screen writing. And that was probably too much. The movie is ill paced and takes several unexpected turns which break down the narrative rhythm. The movie also seems to shift in an uneasy way into different genres. It starts out as a solid firm noir with a flashback, a love story, betrayal and a murder. Then Lorre reverts to his role in Fritz Lang's M and becomes a psychotic woman hater and mass murderer. Then, back in the noir mode, he stumbles inadvertently into the preparation for the assassination of Hitler (a real event that took place in 1944) and, believe it or not, the movie definitely becomes a kind of a black comedy. The main character ends up a tragic clown who can not be taken seriously (and I am pretty sure it was not meant that way). Some plot details are plainly ludicrous and do not work. An example: Lorre's character takes to strangling women who try to "make him hot". They are decidedly bigger and larger than he is and all look as if they would put up fierce resistance against a strangling Lorre, probably easily overpowering him. But they react like frightened lambs – I just had to laugh at that, or was I missing a crucial symbolic twist here? However, other aspects of the movie are interesting. The theme of betrayal and double cross are cleverly presented as the essence of every day life in Nazi Germany. The set design and the scenes shot on location somewhere in Germany create an oppressive atmosphere with darkened parlours, basement laboratories, bleak apartments and landscapes of ruins and emergency shelters. Actually, all the elements that make a good movie are there and in itself well presented: some good dialogue, the observation, the surprise moments, the suspense and even a car chase. There are some very good female parts. The game of flirting and sexual innuendo is presented in a frankness that was pretty drastic for the period, I guess. But these elements stand by themselves and unfortunately don't come together to form a good movie. Robert Siodmak's thematically related movie Nachts, wenn der Teufel kam was a much more convincing comeback with a film that transports American noir mode to Nazi Germany.

So heavy and so depressing, as any post-World War II German film - with flashbacks - would be.

Peter Lorre, in real life addicted to morphine, came out of rehab and returned to Germany, where he directed and starred in a film, The Lost Man, in 1951.

Lorre is a scientist, Dr. Karl Rothe, who after the war was presumed dead and therefore was able to change his name to Neumeister. During the Nazi era, he learns from those over him that his discoveries are being sold to the enemy - by his fiancee.

In a rage, he strangles her. Now he works as a doctor in a refugee camp, but is reminded of his past in the presence of the man who was his assistant during the war, Hosch, who was involved in the investigation of The Night of the Long Knives.

The "Night Of The Long Knives" was a series of political extrajudicial executions intended to consolidate Hitler's power and alleviate the concerns of the German military about the role of Ernst Röhm and the Sturmabteilung (SA), the Nazis' paramilitary organization, known colloquially as "Brownshirts."conspiracy.

That Neumeister has become completely unstable is demonstrated not only in his narration of the flashback, in which he tells Hosch that he intended to kill him, but in his problems with women. At one point, he murders a woman while on a train.

Lorre did a magnificent job in both his acting and direction. The end of the film is just as miserable as the rest of it. It's powerful, but don't have any sharp objects in the house.