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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

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

Brilliant surgeon Dr. Gogol is infatuated with Horror Theatre star Yvonne Orlac. After meeting her in person and realising that she only has eyes for her husband, the renowned pianist Stephen Orlac, he buys a life size mannequin of her and dreams of doing what Pygmalion did with Galatea. When Stephen is involved in an horrific train crash and has both his hands crushed beyond healing, Yvonne pleads with Gogol to help save his well being, he does, by amputating the crushed hands and grafting on the hands of a recently executed murderer, a murderer whose speciality was knives!

Mad Love is one of those amazingly old classics that is a hybrid of genre staples. At times it's surrealist and at others it's operating via a Grand Guginol pulse, whilst knowingly it laces the story with an uneasy comedic bent. Boasting camera work from Gregg Toland and Chester Lyons and directed by the impressive Karl Freund, this adaptation of Maurice Renard's novel is a chillingly memorable piece of work. Working off a plot that sees the bad Doctor driven by lustations rather than out and out insanity, Freund revels in slowly winding the coil until the spring that is Peter Lorre (Gogol) explodes (implodes), cloaking various scenes in telling shadows that themselves become integral to the plot. Peter Lorre is of course in his element, demented yet sympathetic, it's real hard to take your eyes away from his magnetic weirdness. Colin Clive as Stephen Orlac also puts in a performance of note, all twitchy nervousness and believable emotional torment, whilst Frances Drake more than adequately brings vulnerability to the centrifugal importance of Yvonne's emotional turmoil.

Weird and gorgeous, and incredibly well written, Mad Love holds up very well today as a horror/romance film of vast influential worth. So see it in the dark and marvel at its various moments of cinematic excellence. 8.5/10

I really enjoyed "Mad Love," it moves well and is a lot of fun to watch. It's certainly the most substantial role I've seen Colin Clive in other than his immortal portrayals of Dr. Frankenstein. Peter Lorre was such a great actor, he does scene after scene as the creepy Dr. Gogol with such natural ease, it doesn't seem like he's acting at all. Yet Dr. Gogol comes across as more pathetic than evil, which is crucial to this film, which has a very simple plot and a predictable ending.

Peter Lorre is great to watch! Even the most simple, corny line spoken by him rings with meaning and truthfulness, Lorre really knew how to play for/to the camera. This movie is only a little over an hour, highly recommended if you're going to do a double feature, and you're looking for a short feature as an appetizer.

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.