Peter Lorre
Peter Lorre | |
|---|---|
 Lorre in 1930 | |
| Born | László Löwenstein June 26, 1904 |
| Died | March 23, 1964 (aged 59) Los Angeles, California, U.S. |
| Resting place | Hollywood Forever Cemetery |
| Occupation | Actor |
| Years active | 1929–1964 |
| Spouses |
|
| Children | 1 |
Peter Lorre (German: [ˈpeːtɐ ˈlɔʁə]; born Ladislav Löwenstein, Hungarian: [ˈlaːsloː ˈløːvɛ(n)ʃtɒjn]; June 26, 1904 – March 23, 1964) was a Slovak and American actor, active first in Europe and later in the United States. He began his stage career in Vienna, in the Austro-Hungarian Empire, before moving to Germany, where he worked first on the stage, then in film, in Berlin during the late 1920s and early 1930s. Lorre caused an international sensation in the Weimar Republic–era film M (1931). Directed by Fritz Lang, Lorre portrayed a serial killer who preys on little girls.
Known for his timidly devious characters, his appearance, and his accented voice, Lorre was frequently caricaturized during and after his lifetime and the cultural legacy of his persona remains in media today.
Lorre, who was of Jewish descent, left Germany after Adolf Hitler and the Nazi Party came to power. His second English-language film, following the multiple-language version of M (1931), was Alfred Hitchcock's The Man Who Knew Too Much (1934), made in the United Kingdom.[1][2]
Eventually settling in Hollywood, he later became a featured player in many Hollywood crime and mystery films. In his initial American films, Mad Love and Crime and Punishment (both 1935), he continued to play murderers. Lorre was later cast to play Mr. Moto, the Japanese detective, in a series of B-pictures.
From 1941 to 1946, Lorre primarily worked for Warner Bros. His first film at Warner was The Maltese Falcon (1941), the first of many films in which he appeared alongside actors Humphrey Bogart and Sydney Greenstreet. This was followed by Casablanca (1942), the second of the nine films in which Lorre and Greenstreet appeared together. Lorre's other films include Frank Capra's Arsenic and Old Lace (1944) and Disney's 20,000 Leagues Under the Sea (1954).
Frequently typecast as a sinister foreigner, his later career was erratic. Lorre was the first actor to play a James Bond villain as Le Chiffre in a TV version of Casino Royale (1954). Some of his last roles were in horror films directed by Roger Corman.
In 2017, The Daily Telegraph named him one of the best actors never to have received an Academy Award nomination.[3]
Early life
[edit]Lorre was born László Löwenstein (Hungarian: Löwenstein László) on June 26, 1904, the first child of Alajos Löwenstein and his wife Elvira Freischberger, in the town of Rózsahegy in Liptó County, Kingdom of Hungary (German: Rosenberg; Slovak: Ružomberok, now in Slovakia). His parents, German-speaking Jews, had recently moved there[a] following his father's appointment as chief bookkeeper at a local textile mill. Alajos also served as a lieutenant in the Austrian Army Reserve, and was often away on military maneuvers.[4][5]
László's mother died when he was four years old, leaving Alajos with three very young sons. He soon married his wife's best friend Melanie Klein, with whom he had two more children. However, Lorre and his stepmother never got along, and this colored his childhood memories.[4] Anticipating that he might be conscripted following the outbreak of the Second Balkan War, Alajos moved the family to Vienna. He served on the Eastern Front during the winter of 1914–15, before being put in charge of a prison camp due to heart trouble.[6][7]
Acting career
[edit]In Europe (1922–1934)
[edit]
Lorre began acting on stage in Vienna aged 17, where he worked with Viennese Art Nouveau artist and puppeteer Richard Teschner. He then moved to Breslau and later to Zürich. In the late 1920s, the actor[8] moved to Berlin, where he worked with Bertolt Brecht, including a role in Brecht's Man Equals Man and as Dr. Nakamura in the musical Happy End.
The actor became much better known after director Fritz Lang cast him as child-killer Hans Beckert in M (1931), a film reputedly inspired by the Peter Kürten case.[9] Lang said that he had Lorre in mind for the part and did not give him a screen test because he was already convinced Lorre was perfect for the part.[10] He also stated that the actor gave his best performance in M and that it was among the most distinguished in film history.[11] Sharon Packer observed that Lorre played the "loner, [and] schizotypal murderer" with "raspy voice, bulging eyes, and emotive acting (a holdover from the silent screen) [which] always make him memorable."[9]
In 1932, Lorre appeared alongside Hans Albers in the science fiction film F.P.1 antwortet nicht about an artificial island in the mid-Atlantic.
When the Nazis came to power in Germany in 1933, Lorre took refuge first in Paris and then London, where he was noticed by Ivor Montagu, associate producer for The Man Who Knew Too Much (1934),[12] who reminded the film's director, Alfred Hitchcock, about Lorre's performance in M. They considered him to play the assassin, but wanted to use him in a larger role despite his limited command of English,[13] which Lorre overcame by learning much of his part phonetically. In The Guardian, September 2014, Michael Newton wrote, "Lorre cannot help but steal each scene; he's a physically present actor, often, you feel, surrounded as he is by the pallid English, the only one in the room with a body."[14]
Lorre and his first wife, actress Celia Lovsky, boarded the Cunard-White Star Liner RMS Majestic in Southampton on July 18, 1934, to sail for New York a day after shooting had been completed on The Man Who Knew Too Much, having gained visitor's visas to the United States.[15][16][17]
After his first two American films, Lorre returned to England to feature in Hitchcock's Secret Agent (1936).[18]
First years in Hollywood (1935–1940)
[edit]Lorre settled in Hollywood and was soon under contract to Columbia Pictures, which had difficulty finding parts suitable for him. After some months of research, Lorre decided on Crime and Punishment by Dostoevsky as a suitable project with himself in the central role. Columbia's head Harry Cohn agreed to make the film adaptation on the condition that he could lend Lorre to Metro-Goldwyn-Mayer, possibly as a means of recouping the cost of Lorre not appearing in any of his films.[19]
For MGM's Mad Love (1935), set in Paris and directed by Karl Freund, Lorre's head was shaved for the role of Dr. Gogol, a demented surgeon who replaces the wrecked hands of a concert pianist with those of an executed knife murderer. An actress who works at the nearby Grand Guignol theater, who happens to be the pianist's wife, is the subject of Gogol's unwelcome infatuation.[20] "Lorre triumphs superbly in a characterization that is sheer horror", The Hollywood Reporter commented. "There is perhaps no one who can be so repulsive and so utterly wicked. No one who can smile so disarmingly and still sneer. His face is his fortune".[21]
_1935._Josef_von_Sternberg,_director._L_to_R_Edward_Arnold,_Peter_Lorre.jpg)
Lorre followed Mad Love with the lead role in Crime and Punishment (also 1935) directed by Josef von Sternberg. "Although Peter Lorre is occasionally able to give the film a frightening pathological significance," wrote Andre Sennwald in The New York Times on the film's release, "this is scarcely Dostoievsky's drama of a tortured brain drifting into madness with a terrible secret."[22] Columbia offered him a five-year contract at $1,000 a week (equivalent to $22,223 in 2023), but he declined.[23]
Returning from England after appearing in a second Hitchcock picture (Secret Agent, 1936), he was offered and accepted a 3-year contract with 20th Century Fox.[23] Starring in a series of Mr. Moto movies, Lorre played John P. Marquand's character, a Japanese detective and spy. Initially positive about the films, he soon grew frustrated. "The role is childish," he said, and eventually tended to dismiss the films entirely.[24] He twisted his shoulder during a stunt in Mr. Moto Takes a Vacation (1939),[25] the penultimate entry of the series. In 1939, he attended a lunch at the request of some visiting Japanese officials; Lorre wore a badge that read "Boycott Japanese goods."[26]
Late in 1938, Universal Pictures wanted to borrow Lorre from Fox for the top-billed titular role ultimately performed by Basil Rathbone in Son of Frankenstein (1939) starring Boris Karloff as Frankenstein's monster and Bela Lugosi as Ygor. Lorre declined the role because he thought his menacing parts were now behind him, although he was ill at this time.[27] He had tested successfully in 1937 for the role of Quasimodo in an aborted MGM version of The Hunchback of Notre-Dame, according to a Fox publicist one of two roles Lorre most wanted to play (the other was Napoleon).[28] Frustrated by broken promises from Fox, Lorre managed to end his contract.
After a brief period as a freelance, he signed for two pictures at RKO in May 1940.[29] In the first of these, Lorre appeared as the anonymous lead in the B-picture Stranger on the Third Floor (1940), reputedly the first film noir.[30] The second RKO film, also in 1940, was You'll Find Out, a musical comedy mystery vehicle for bandleader Kay Kyser in which Lorre spoofed his sinister image alongside horror stars Bela Lugosi and Boris Karloff.[31]
Mainly at Warner Bros. (1941–1946)
[edit]
In 1941, Lorre became a naturalized citizen of the United States.[32] Director John Huston saved him from more B-pictures by casting him in The Maltese Falcon.[33][34] Although Warner Bros. was lukewarm, Huston was keen for him to play Joel Cairo, observing that Lorre "had that clear combination of braininess and real innocence, and sophistication... He's always doing two things at the same time, thinking one thing and saying something else."[34] Lorre himself reminisced fondly in 1962 about the "stock company" he now found himself working with: Humphrey Bogart, Sydney Greenstreet and Claude Rains. In his view, the four of them had the rare ability to "switch an audience from laughter to seriousness."[35]
Lorre was contracted to Warner on a picture-by-picture basis until 1943 when he signed a five-year contract, renewable each year, which lasted until 1946.[33]
The year after Maltese Falcon, he portrayed the character Ugarte in Casablanca (1942). While Ugarte is a small part, it is he who provides Rick with the "Letters of Transit", a key plot device. Lorre made nine movies with Sydney Greenstreet counting The Maltese Falcon and Casablanca, a team which came to be called "Little Pete-Big Syd", although they did not always have much screen time in joint scenes.[36] Most of these motion pictures were variations on Casablanca, including Background to Danger (1943, with George Raft); Passage to Marseille (1944), reuniting them with Humphrey Bogart and Claude Rains; The Mask of Dimitrios (1944); The Conspirators (1944, with Hedy Lamarr and Paul Henreid); Hollywood Canteen (1944); Three Strangers (1946), a suspense film about three people who are joint partners on a winning lottery ticket, with third-billed Lorre cast against type by director Jean Negulesco as the romantic lead, also starring Geraldine Fitzgerald; and Greenstreet and Lorre's final film together, suspense thriller The Verdict (1946), director Don Siegel's first feature, with Greenstreet and Lorre finally billed first and second, respectively.
Lorre returned to comedy with the role of Dr. Einstein in Frank Capra's version of Arsenic and Old Lace (released in 1944) starring Cary Grant and Raymond Massey. Writing in 1944, film critic Manny Farber described what he called Lorre's "double-take job", a characteristic dramatic flourish "where the actor's face changes rapidly from laughter, love or a security that he doesn't really feel to a face more sincerely menacing, fearful or deadpan."[37]
Lorre's last film for Warner was The Beast with Five Fingers (1946), a horror film in which he played a crazed astrologer who falls in love with a character played by Andrea King. Daniel Bubbeo, in The Women of Warner Brothers, thought Lorre's "wildly over-the top performance" had "elevated the movie from minor horror to first-rate camp."[38]
Lorre said his continuing friendship with Bertolt Brecht, in exile in California since 1941, had led studio head Jack L. Warner to 'graylist' him, and his contract with Warner Bros. was terminated on May 13, 1946. Warner would be a "friendly" witness at his appearance before the House Un-American Activities Committee in May 1947.[39] Lorre himself was sympathetic to the short-lived Committee for the First Amendment, set up by John Huston and others, and added his name to advertisements in the trade press in support of the committee.[40]
After World War II (1947–1964)
[edit]
After World War II and the end of his Warner contract, Lorre's acting career in Hollywood experienced a downturn[41] He concentrated on radio and stage work. In 1949, he filed for bankruptcy.[42] In the autumn of 1950, he traveled to West Germany to make the film noir Der Verlorene (The Lost One, 1951) which Lorre co-wrote, directed and starred in. According to Gerd Gemünden in Continental Strangers: German Exile Cinema, 1933–1951, with the exception of Josef von Báky's Der Ruf (The Last Illusion, 1949), it is the only film by an emigrant from Germany which uses a return to the country "addressing questions of guilt and responsibility; of accountability and justice." While it gained some critical approval, audiences avoided it and it did badly at the box office.[43]
In February 1952, Lorre returned to the United States,[43] where he resumed appearances as a character actor in television and feature films, often parodying his "creepy" image. He was the first actor to play a James Bond villain[18] when he portrayed Le Chiffre in a 1954 television adaptation of Ian Fleming's novel Casino Royale, opposite Barry Nelson as an American James Bond referred to as "Jimmy Bond". Lorre starred alongside Kirk Douglas and James Mason in 20,000 Leagues Under the Sea (1954) around this time. Lorre appeared in NBC's espionage drama Five Fingers (1959), starring David Hedison, in the episode "Thin Ice", and, in 1960, in Rawhide as Victor Laurier in "The Incident of the Slavemaster" and in Wagon Train as Alexander Portlass in "The Alexander Portlass Story". Lorre appeared in six episodes of Playhouse 90[44] as well as two episodes of Alfred Hitchcock Presents broadcast in 1957 and 1960, the latter a version of the Roald Dahl short story "Man from the South" starring Steve McQueen,[41] Lorre and McQueen's wife Neile Adams. He had a supporting role in the film Voyage to the Bottom of the Sea (1961).
In Lorre's last years, he worked with Roger Corman on several low-budget films, including two of the director's Edgar Allan Poe cycle: Tales of Terror (1962) with Vincent Price and Basil Rathbone; and The Raven (1963), again with Price, as well as Boris Karloff and Jack Nicholson. He again worked with Price, Karloff and Rathbone in the Jacques Tourneur-directed The Comedy of Terrors (1963). He also appeared in a memorable 1962 episode of Route 66, "Lizard's Leg and Owlet's Wing", with Lon Chaney Jr. and Boris Karloff.
Marriages and family
[edit]Lorre was married three times: Celia Lovsky (1934 – March 13, 1945, divorced); Kaaren Verne (May 25, 1945 – 1950, divorced) and Anne Marie Brenning (July 21, 1953 – March 23, 1964, his death). In 1953, Brenning bore Lorre's only child, Catharine. Anne Marie Brenning died in 1971. His daughter later made headlines after serial killer Kenneth Bianchi confessed to police investigators that he and his cousin and fellow "Hillside Strangler" Angelo Buono, posing as undercover police officers, had stopped her in 1977 with the intent of abduction and murder, but let her go on learning that she was the daughter of Peter Lorre. It was only after Bianchi was arrested that Catharine realized whom she had met.[45] Catharine died of complications from diabetes, on May 7, 1985, aged 32.[46]
Failing health and death
[edit]
Lorre had suffered from chronic gallbladder troubles, for which doctors had prescribed morphine. Lorre became trapped between the constant pain and addiction to morphine to ease the problem. It was during the period of the Mr. Moto films that Lorre struggled with and overcame his addiction.[47] Having quickly gained 100 lb (45 kg) and not fully recovering from his addiction to morphine, Lorre suffered personal and career disappointments in his later life.[44]
He died in Los Angeles on March 23, 1964, from a stroke.[48] His body was cremated and his ashes were interred at the Hollywood Forever Cemetery in Hollywood. Vincent Price read the eulogy at his funeral.[49]
Legacy and honors
[edit]
Lorre was inducted into the Grand Order of Water Rats, the world's oldest theatrical fraternity, in 1942.[50] Lorre was honored with a star on the Hollywood Walk of Fame at 6619 Hollywood Boulevard in February 1960.
Being Warner Bros. cartoonists' favorite characterization, Lorre was regularly caricatured in numerous Looney Tunes and Merrie Melodies animated film shorts, including Hollywood Steps Out (1941), Horton Hatches the Egg (1942), Hair-Raising Hare (1946), and many more through the 1940s and 1950s.[51] Future caricatures of Lorre have persisted in film and television for decades afterwards, including live-action and animated bit characters in numerous films and television programs.[51] Vocal impressions of Lorre have been used to create the voices of cartoon characters such as Morocco Mole on The Secret Squirrel Show in the 1960s,[51] Ren Höek in The Ren & Stimpy Show in the 1990s,[52] and Kamek the magician in The Super Mario Bros. Movie in 2023.[53]
Actor Eugene Weingand, who was unrelated to Lorre, attempted in 1963 to trade on his slight resemblance to the actor by changing his name to "Peter Lorie", but his petition was rejected by the courts. After Lorre's death, however, he referred to himself as "Peter Lorre Jr.", claiming to be Lorre's son.[54] He obtained a few small acting roles as a result, including a brief uncredited appearance as a cab driver in Alfred Hitchcock's Torn Curtain (1966) starring Paul Newman and Julie Andrews.
Filk songwriter Tom Smith (1988) wrote a tribute to Lorre's acting called "I Want to Be Peter Lorre", which was nominated for the "Best Tribute" Pegasus Award in 1992 and 2004, and which won the award for "Best Classic Filk Song" in 2006.[55]
Punk cabaret band The World/Inferno Friendship Society's 2007 album Addicted to Bad Ideas: Peter Lorre's Twentieth Century is a concept album written as a tribute to Lorre, focusing on the transition from Weimar Germany to the Third Reich, and Lorre's later career and death. The World/Inferno Friendship Society's lead singer Jack Terricloth describes Lorre as "a strangely charismatic, extremely creepy person, which I think most punk rockers can identify with ... It's the lure of the other. He's the underdog, the outsider."[56]
Filmography
[edit]Film
[edit]Television
[edit]| Year | Title | Role | Notes |
|---|---|---|---|
| 1954 | Climax! | Le Chiffre | S1:E3 "Casino Royale" |
| 1957 | Alfred Hitchcock Presents | Tomas Salgado | Season 3 Episode 10: "The Diplomatic Corpse" |
| 1960 | Alfred Hitchcock Presents | Carlos | Season 5 Episode 15: "Man from the South" |
| 1960 | Wagon Train | Alexander Portlass | Season 3 Episode 23: "The Alexander Portlass Story" |
| 1960 | Rawhide | Victor Laurier | S3:E5, "Incident of the Slavemaster" |
| 1962 | Route 66 | Peter Lorre | S3:E6, "Lizard's Leg and Owlet's Wing" |
Notes
[edit]- ^ Friedemann Beyer states in his biography of Lorre that Lorre's family were outsiders in Rózsahegy as they had arrived there very recently. They were German-speaking Jews from a majority Slovak town. Cf. Friedemann Beyer: Peter Lorre. Seine Filme – sein Leben, München 1988, p. 8 ("Sie waren Juden, und sie sprachen deutsch in einer Gegend, in der überwiegend Slowaken lebten.")
References
[edit]- ^ "Multiple-Language Version Film Collectors' Guide: M (1931)". Brenton Film. August 4, 2015.
- ^ "Alfred Hitchcock Collectors' Guide: The Man Who Knew Too Much (1934)". Brenton Film. November 19, 2019.
- ^ Robey, Tim (February 1, 2016). "20 great actors who've never been nominated for an Oscar". The Daily Telegraph. Archived from the original on January 11, 2022. Retrieved October 15, 2022.
- ^ a b Youngkin 2005, p. 5.
- ^ Youngkin 2005, p. 6.
- ^ Youngkin 2005, p. 7.
- ^ Youngkin 2005, p. 8.
- ^ "Per Lorre FAQ", Stephen D. Youngkin's Peter Lorre website
- ^ a b Sharon Packer Movies and the Modern Psyche, Westport, CN: Praeger, 2007, p. 88
- ^ Barry Keith Grant (ed.) Fritz Lang: Interviews, University Press of Mississippi, 2003, p. 78
- ^ Youngkin 2005, p. 64.
- ^ Reid, Brent (November 19, 2019). "Alfred Hitchcock Collectors' Guide: The Man Who Knew Too Much (1934)". Brenton Film. Retrieved August 2, 2024.
- ^ "The Man Who Knew Too Much (1934)". Tcm.com. Retrieved June 11, 2009.
- ^ Newton, Michael (September 12, 2014). "Peter Lorre: master of the macabre". The Guardian. Retrieved June 20, 2024.
- ^ Youngkin 2005, p. 98.
- ^ "The Lost One – A Life of Peter Lorre".
- ^ "The Lost One: A Life of Peter Lorre - PDF Free Download".
- ^ a b Philip French "Peter Lorre: a great screen actor remembered", The Observer, August 31, 2014.
- ^ Sarah Thomas Peter Lorre, Face Maker: Stardom and Performance Between Hollywood and Europe, Berghahn Books, 2012, p. 56
- ^ Bartłomiej Paszylk The Pleasure and Pain of Cult Horror Films: An Historical Survey, Jefferson, NC: McFarland, 2009, pp. 34–36
- ^ Gregory William Mank Hollywood Cauldron: Thirteen Horror Films from the Genre's Golden Age, Jefferson, NC: McFarland, 1994 [2001], p. 147
- ^ John Baxter Von Sternberg, Lexington: University of Kentucky Press, 2010, p. 197
- ^ a b David Shipman The Great Movie Stars: 2, The International Years, London: Macdonald, 1989, pp. 336–38
- ^ Youngkin 2005, pp. 156–57.
- ^ Youngkin 2005, p. 156.
- ^ Leonard Lyons. "The New Yorker". The Washington Post (1923–1954) [Washington, D.C.] July 1, 1939, p. 6
- ^ Youngkin 2005, p. 164.
- ^ Youngkin 2005, p. 163.
- ^ Youngkin 2005, pp. 164–68.
- ^ Alain Silver and Elizabeth Ward Film Noir: An Encyclopedic Reference to the American Style, New York & WoodstocK: Overlook Press, 1992, p. 269
- ^ Youngkin 2005, p. 170.
- ^ Jennifer Fay Theaters of Occupation: Hollywood and the Reeducation of Postwar Germany, Minneapolis, MN: University of Minnesota Press, 2008, p. 65
- ^ a b Sarah Thomas Peter Lorre, Face Maker: Stardom and Performance Between Hollywood and Europe, Berghahn Books, 2012, p. 90
- ^ a b Youngkin 2005, p. 178.
- ^ Youngkin 2005, p. 162.
- ^ Wesley Alan Britton Onscreen and Undercover: The Ultimate Book of Movie Espionage, Westport, CT: Praeger, 2006, p. 46
- ^ Farber, Manny, The New Republic, July 10, 1944
- ^ Daniel Bubbeo The Women of Warner Brothers: The Lives and Careers of 15 Leading Ladies, Jefferson, NC: McFarland, 2002, p. 124
- ^ Youngkin 2005, p. 244.
- ^ Youngkin 2005, pp. 298–299.
- ^ a b Anne Billson "Peter Lorre: one of cinema's most deliciously sinister presences", The Sunday Telegraph, March 23, 2014
- ^ Youngkin 2005, p. 309.
- ^ a b Gerd Gemünden Continental Strangers: German Exile Cinema, 1933–1951, New York: Coluimbia University Press, 2014, pp. 161–62
- ^ a b Scheuer, Steven H. (February 24, 1960). "Peter Lorre Says He's Very Well / Stars Tonight On Playhouse 90". Mansfield News Journal. Retrieved May 11, 2022.
- ^ Schwarz, Ted. The Hillside Strangler, pg. 212. Quill Driver Books. 2004; ISBN 1-884956-37-8
- ^ Wilson, Scott (2016). Resting Places: The Burial Sites of More Than 14,000 Famous Persons. Jefferson, N.C.: McFarland. p. 455. ISBN 9780786479924.
- ^ "Peter Lorre" on Classic Images past issues, 1998
- ^ "From the Archives: Movie Villain Peter Lorre Found Dead in His Hollywood Apartment". LA Times. March 24, 1964.
- ^ Youngkin 2005, p. 448.
- ^ Youngkin 2005, p. 312: "The Grand Order of Water Rats ... inducted Lorre into the oldest theatrical fraternity in the world the following day. Having developed a close friendship with the actor (Lockwood), and feeling that he would fit the requirements (two years' experience as a professional entertainer; no objections from any other Rat; fund-raising activities for charity), Lockwood proposed Lorre for membership in the elite charitable organization."
- ^ a b c Youngkin 2005, pp. 214, 451–453.
- ^ Meisler, Andy (August 16, 1992). "TELEVISION; Ren and Stimpy's Triumphant Return". The New York Times. Retrieved October 27, 2009.
- ^ "Re-VIEW: 'The Super Mario Bros. Movie' – Simply a Delight". Animation World Network. Retrieved March 26, 2024.
- ^ Youngkin 2005, p. 443: "After the actor's death, however, he began passing himself off as Lorre's son, repeatedly contradicting his earlier testimony."
- ^ Pegasus Awards − I Want To Be Peter Lorre
- ^ Sisario, Ben (January 8, 2009). "Addicted to Peter Lorre (That Voice, Those Eyes)". The New York Times.
Bibliography
[edit]- Svehla, Gary (1999). Peter Lorre. Midnight Marquee Actors Series. Midnight Marquee Press. ISBN 1-887664-30-0.
- Thomas, Sarah (2015). Peter Lorre: Face Maker: Constructing Stardom and Performance in Hollywood and Europe. Berghahn Books. ISBN 978-0-85745-441-6.
- Youngkin, Stephen (2005). The Lost One: A Life of Peter Lorre. The University Press of Kentucky. ISBN 978-0-8131-7185-2.
Further reading
[edit]- Alistair, Rupert (2018). "Peter Lorre". The Name Below the Title : 65 Classic Movie Character Actors from Hollywood's Golden Age (softcover) (First ed.). Great Britain: Independently published. pp. 157–160. ISBN 978-1-7200-3837-5.
External links
[edit]
- Peter Lorre at IMDb
- Peter Lorre at AllMovie
- Peter Lorre at the TCM Movie Database
- Peter Lorre at the British Film Institute[better source needed]
- The Peter Lorre Companion
- Photographs of Peter Lorre
- Peter Lorre (in German) from the online-archive of the Österreichischen Mediathek
- 1904 births
- 1964 deaths
- Jews from Austria-Hungary
- 20th-century American male actors
- 20th-century Hungarian male actors
- American male film actors
- American male radio actors
- American people of Hungarian-Jewish descent
- Emigrants from Austria-Hungary to the United States
- Burials at Hollywood Forever Cemetery
- German-language film directors
- 20th-century Hungarian Jews
- Hungarian male film actors
- Jewish American male actors
- Jewish emigrants from Nazi Germany to the United States
- Naturalized citizens of the United States
- People from Ružomberok
- Warner Bros. contract players
- 20th-century American Jews
- Jewish film people