L'uomo della maschera

Peter Lorre turns in one of his finest performances as a Hungarian watchmaker coming to the United Staes to make a new life for himself and someday bring his girl across the big pond to be with him. Lorre's infectious optimism and bright outlook come off very effectively which makes the performance all the better when he has his face hideously burned in a hotel fire and, when no one will give him a chance to work, turns reluctantly to a life of crime. Lorre's range as an actor is seldom as apparent as in this movie with his jovial, good-natured immigrant, to his depressing, melancholic, disfigured self searching for the truth behind what he believed America afforded him, to his suave, intelligent, better-than-your-average hood, to his sympathetic dealings with a blind woman with whom he falls in love. The story is well-paced, has some interesting twists, and gives Lorre many opportunities to shine. Director Robert Florey does a quality job behind the lens, and all of the supporting cast help aid the film with Evelyn Keyes giving a particularly good turn as the blind girl. I loved the ending - and the truth - that was shone to exist in Lorre's character despite all the negative things society had done toward him. For a little B picture, The Man Behind the Mask is good movie-making for its time.

In the same year Peter Lorre did The Maltese Falcon over at Warner Brothers, Columbia Pictures had him starring in The Face Behind The Mask. In his career Lorre was far better known for the supporting parts he played to big Hollywood marquee names. After his starring roles in German cinema in Fritz Lang's M and as Mr. Moto, Lorre was rarely the lead name in the cast. This interesting B film, The Face Behind The Mask is a glorious exception.

It's too bad that Columbia didn't put more production values into this film because Lorre has one interesting part. The film is a combination of Phantom Of The Opera and Little Caesar. Lorre first appears to us as an eager immigrant from Hungary, one of the few times he played his own nationality. He's looking to get his piece of the American dream as so many were back in the day. On a tip from friendly policeman Don Beddoe, Lorre takes lodging in a cheap rooming house and that very first night the place catches on fire and his face is burned horribly.

Disfigured as he is Lorre can't find legitimate work, but he's got certain skills that the criminal profession can use and with the aid of a temporary mask he takes charge like Edward G. Robinson did of an existing criminal gang. George E. Stone plays the same kind of role in The Face Behind The Mask as he did in Little Caesar.

Lorre also in maybe the only time in his film career gets a leading lady of sorts in the person of Evelyn Keyes. Evelyn plays a blind girl who can't see his disfigurement and she falls for him. It all ends badly, but not through any doing of Lorre's.

The Face Behind The Mask is a routine B programmer without a lot of production values invested, but the idea behind the film is an interesting one and Lorre pulls it off beautifully in his acting.

And who would ever have Peter Lorre would get the girl in any film, even temporarily.

The Face Behind The Mask is directed by Robert Florey and collectively written by Paul Jarrico, Arthur Levinson and Allen Vincent. It stars Peter Lorre, Evelyn Keyes, Don Beddoe and George E. Stone. Music is by Sidney Cutner and cinematography by Franz Planer.

Hungarian immigrant Janos Szaby (Lorre) arrives in New York City full of hope for the future. Unfortunately he is trapped in a hotel fire which leaves his face severely disfigured. Even though he is a skilled craftsman he is refused employment by many on account of his looks. At his lowest ebb he turns to crime to fund the making of a face mask to hide his disfigurement, while soon enough he is running a little league crime outfit when he happens upon blind Helen Williams (Keyes) and finds a new meaning to life…

The sands of time plays the death rattle.

Lorre dismissed it as a bit of guff, but The Face Behind The Mask showcases one of his greatest performances. It's a film that beats a black heart, where fatalism is dripped over proceedings, the core of the narrative is the shattering of the American dream, and the makers here are not shy to put forward an uncaring society. After a breezy beginning the narrative becomes relentlessly bleak, right up to, and including, a no holds barred chilling finale that's preceded by a monstrous twist.

Florey (also doing some of his best work) and Planer add stark imagery and scene setting that belies the B budget and quick turnover of the production (less than two weeks). A bleak harbour sequence is tonally adroit, the face mask surgery with faces adorning the walls is deliciously macabre, there's torture, too, and oblique backgrounds and shadow play. The dialogue may sometimes be too weak for the haunting story, but the film rises above it because of skills of the cast (Stone and Keyes excellent support for Lorre) and makers alike.

Part noir, part horror and part social drama, it's a film of differing attributes. It's not one for anyone looking to be cheered up, but for those who like to lurk in the shadows and succumb to the dark underbelly of cinema; this is a treat. 8/10

Peter Lorre is "The Man Behind the Mask" in this 1941 film from Columbia Pictures. The film also stars Evelyn Keyes, Don Beddoe, and George E. Stone.

Lorre plays Janos, a friendly, sweet, and idealistic immigrant who comes to New York City in search of the American dream. A police detective (Beddoe) directs him to a place where he can get a room, and he finds a job in the adjoining café washing dishes.

One night, the residential hotel bursts into flames, and Janos is badly burned. When the bandages come off his face, he screams in horror. His face is horribly disfigured. He finds that people are afraid of him, and he can't find work anywhere.

He meets a helpful thief, Dinky (George E. Stone) who leads him into the life of a thief, and it turns out he's a master at it.

The he encounters a blind woman, Evelyn Keyes, and they fall in love and plan a life together.

Really good film with Lorre giving a marvelous performance. How one guy could come off as so evil in one film and so warm and charming in another is really an achievement. His range was remarkable.

For this role, he needed control over his facial muscles, and he had to simulate a mask that was just white powder and tape. The special lighting helped the mask appearance, but Lorre showed all of his expression in his eyes and kept his face quite still.

Because of his unhappiness with the role and the quick schedule, Lorre was having a 90 proof liquid breakfast, to such an extent that the director had to do as many of Lorre's scenes as he could in the morning.

Despite what Lorre believed, I thought this film had great characters and a good story, and it was a terrific role for him.

The director, Robert Florey, employs all sorts of film techniques to good advantage and had a very expressionistic bend.

Well worth seeing.

Exceptional B movie from Columbia, directed by Robert Florey and starring Peter Lorre as a hopeful, innocent Hungarian immigrant whose face is burned in a fire on his first day in New York. His horrible disfigurement makes it hard for him to get work so he turns to a life of crime. Eventually he's leading his own gang and makes enough money to pay for a realistic mask to hide his burns. When he falls in love with a blind woman (Evelyn Keyes) and wants to go straight, his gang turns on him.

There are no bells and whistles here, just fine acting, a decent script, and nice direction. Sensitive, brilliant performance from Peter Lorre that is far better than you would expect to find in a quickie that was filmed in less than a month. The often underrated Evelyn Keyes is terrific in this. Solid support from Don Beddoe and George E. Stone. Robert Florey's noirish direction is a major plus. He would re-team with Lorre later for the classic The Beast with Five Fingers. It's a very good film that's a sort of blend of gangster and horror pictures. If nothing else, see it for one of Peter Lorre's best starring roles.