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Mad Love (12-Jul-1935)

Director: Karl Freund

Writers: Florence Crewe-Jones; Guy Endore; P. J. Wolfson; John L. Balderston

From novel: Les Mains d'Orlac by Maurice Renard

Musical Score by: Dimitri Tiomkin

Producer: John W. Considine, Jr.

Keywords: Horror

NameOccupationBirthDeathKnown for
Edward Brophy
27-Feb-1895 27-May-1960 The Last Hurrah
Colin Clive
20-Jan-1900 25-Jun-1937 Frankenstein
Frances Drake
22-Oct-1912 18-Jan-2000 WWII pinup girl, also actress
Sara Haden
17-Nov-1899 15-Sep-1981 The Shop Around the Corner
Ted Healy
1-Oct-1896 21-Dec-1937 Creator of The Three Stooges
Henry Kolker
13-Nov-1870 15-Jul-1947 Romeo and Juliet
Peter Lorre
26-Jun-1904 23-Mar-1964 The Maltese Falcon
Keye Luke
18-Jun-1904 12-Jan-1991 Charlie Chan's No. 1 Son, Lee


Peter Lorre   ...   Dr. Gogol
Frances Drake   ...   Yvonne Orlac
Colin Clive   ...   Stephen Orlac
Ted Healy   ...   Reagan (reporter)
Sara Haden   ...   Marie (maid)
Edward Brophy   ...   Rollo (knife thrower)
Henry Kolker   ...   Prefect Rosset
Keye Luke   ...   Dr. Wong (Gogol's assistant)
May Beatty   ...   Françoise (housekeeper)


Review by anonymous (posted on 6-Oct-2006)

This is a remarkable ,little-seen horror classic that features a truly amazing performance from Peter Lorre as the deranged surgeon in love with another man's wife. For those viewers who have only seen Lorre in self-spoofing roles, this serious portrayal is a revelation. He makes Gogol an unnervingly believable character whose hopeless love for Yvonne Orlac is compelling and strangely sympathetic. He is a sad, lonely figure whose isolation and alienation seem almost tragic when he describes himself to Yvonne as a man who has never known the love of a woman. Frances Drake is perfect as the lovely Yvonne. The scene in which he pleads for her love and she responds that even if she didn't love her husband Orlac, there is something about Gogol that ...'' Repulses you?'' , he almost whispers. '' That frightens me", she responds and Lorre appears to be almost in physical agony at her words. Lorre is so genuinely convincing as a man completely obsessed that the possible temptation to laugh at some of the more outre scenes and dialogue never arises. There is also an unexpected black comedy quality to the film that is quite deliberate, as when Gogol's drunken housekeeper believes that the wax figure of Yvonne has come to life; or has a boozy conversation with an American reporter in which she believes he is talking about the wax statue, while he is referring to the body of the executed murderer Rollo. The result is a film not like anything else from this period of the classic horror film; almost an in-joke at times, but ultimately a truly macabre and fascinating movie.

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