Reviewed by Colin Jacobson (November 3, 2021)
After six years of films in his native Europe, Peter Lorre migrated to Hollywood. 1935’s Mad Love represents the eccentric actor’s first American production.
Dr. Gogol (Lorre) enjoys notoriety as a successful cosmetic surgeon. He also enjoys live theater, where he encounters actor Yvonne Orlac (Frances Drake).
Gogol quickly develops a romantic obsession with Yvonne, one that remains frustrated because of her marriage to concert pianist Stephen Orlac (Colin Clive). When an accident severely damages Stephen’s hands, Gogol uses the tragedy in a demented way meant to send Yvonne into his arms.
Given his wide-eyed look, diminutive size and slithery voice, Lorre never stood a chance of film stardom as a leading man. Instead, he chose the path that made the most sense for him: slimy characters with questionable morals.
Lorre perfected this sort of character early in his career, and Love offers a good representation of his particular “charms”. While Lorre played a lot of semi-deranged roles, he managed to bring an odd sense of humanity to them.
Lorre leaned toward roles of outsiders. Even though Dr. Gogol stands at the top of his field, he remains isolated and unable to find romance – probably because he’s a bald-headed oddball, but still, this leaves him as a moderately sympathetic character.
In terms of psychotic stalkers, that is. That’s what made Lorre so memorable: he played deeply flawed characters in a way that made them both repellent but still strangely likable.
Gogol comes across as more of a tragic figure than other Lorre roles because Love depicts his good side. After all, Gogol uses his surgical skills for the benefit of others – and doesn’t even accept pay for the lives he impacts.
Of course, Gogol eventually goes nutty, and Lorre makes the shift well. He takes Gogol from eccentric but human to scheming lunatic in a smooth manner that works nicely.
Clive’s presence seems less than coincidental given how many obvious reflections of Frankenstein we find here. Actually, I imagine the producers of Love took some cues from the same year’s Bride of Frankenstein - which also featured Clive – as some similarities appeared.
Perhaps these were coincidental, but Love’s drunk housekeeper (May Beatty) feels awfully reminiscent of Bride’s Minnie (Una O’Connor). Both act in broad ways and exist for comic relief mostly.
Potentially “borrowing” aside, Mad Love becomes a pretty satisfying thriller. It comes with an involving plot and strong performances, all of which allow it to keep us involved across its 68 minutes.
