Brooks on Books: The Lost One: A Life of Peter Lorre

OK, so maybe a huge section of endnotes, quotation references, and lists of interviews conducted and sources consulted isn't itself total proof that a biography has been well researched. After reading "The Lost One" by Stephen Youngkin, though, I'm gonna go ahead and say the guy did his homework. He talked to a bunch of relevant people, examined many primary sources, and even examined some German-language materials. This is without a doubt the comprehensive Peter Lorre book, and any fan of the distinctive character actor will get a lot out of it.

Youngkin's effort is a serious but not pretentious study, focusing on the work and how the actor responded to it and produced it, yet it also covers Lorre's off-screen life in detail. The author does not shy away from the star's dark side, but he doesn't sensationalize it, either. This is by no means a light, breezy bio, either, but a heady one that delves into some technical aspects of acting. It's well written and rewarding, and I don't want to make it sound like a slog, but it does require some thought.

Lorre comes across as a likable guy, full of mischief and wit but professional and generous to co-workers when necessary. He has a lot of admirers in the ranks of his colleagues, and he was an undeniable talent and a singular screen presence, passionate about the work when motivated. Although their marriage ended badly, first wife Celia remained a vital part of his life, and according to Youngkin, retained strong affection for him (and he should know, as he read her diaries).

On the other hand, Lorre was apparently cruel to his second and third wives, he was a careless spender, and he battled a strong drug habit--abusing morphine and others--for years. He was a complex guy, and in fact, duality is one of the themes Youngkin develops and discusses.

Another thread that dominates the book is typecasting. Lorre's breakthrough film, Fritz Lang's "M" is a powerful saga even today, carried by the unforgettable performance of its star as child murderer Hans Beckert. He was rightfully proud of "M," but the chilling image it gave him stuck and haunted him the rest of his career.

There is a constant undercurrent of sadness as Youngkin recounts Lorre's Hollywood journey. Because of "M" and because of his unique physical features, Lorre is sought after for horror roles far more than the light comic roles he would like to play or the serious dramatic roles the theater-trained thespian could well play. As he gets older, even the ghoulish caricature parts dry up, and it's television guest star time, and in Hollywood, a contract with exploitation specialist AIP. A project he develops and stars in over in Germany, "The Lost One," gets tepid reaction and fails to give him the credibility he seeks.

Lorre was apparently always self-deprecating about film acting, downplaying his skill by telling others he was merely "making faces." But Youngkins depicts an increasingly jaded Lorre, weary of being pigeonholed for so long and never getting the chances he deserved. It's a sad decline as the physically spent performer resigns himself to minor roles (though generally making the most of them, giving an honest effort on set and not wallowing in self-pity) and of course dies way too early.

It's not a sad book, though, because Youngkin unearths many amusing anecdotes of Lorre's often-biting wit, the pranks he enjoyed orchestrating on movie sets, and the adventures he had with pals like Humphrey Bogart. The inability to shake the horror image (and to a lesser extent Fox series detective Mr. Moto) wounded him, but he starred in many great, great films, almost all of which are unthinkable without his performances. Speaking of Bogart, just think how essential Lorre is even in limited screen time in "Casablanca," or how memorable he is in "The Maltese Falcon." It's hard to imagine "Arsenic and Old Lace" without his supporting role.

But Lorre is also a tremendous force in larger or starring roles. Some of his less prestigious pictures like "Mad Love" are still entertaining today. I think he's great in the Moto movies, though his health/drug issues necessitated frequent use of doubles, and just check out his excellent proto-noirs like "Face Behind the Mask" and "Stranger on the Third Floor."

The fact is, I can watch Peter Lorre in just about anything. Can I read him in just about anything? Well, to be honest, at the beginning of "The Lost One," I was a little antsy waiting for Lorre to get off the stage, out of Europe, and into Hollwyood pictures. Later, as Lorre's career started to decline and Youngkin focused on his return to Germany and his relationship with Bertolt Brecht, I was also a little anxious. On some level, I would have liked to learn more about, say, his specific movies with Syidney Greenstreet and less about Brecht. But this is me, not the book. Youngkin makes the information stimulating enough in its own right and proves that it's relevant--vital, even--to an understanding of the actor.

This is an outstanding book that covers the life of this remarkable performer in depth. As I said, it's a bit heady at times, but don't let that scare you. Any fan of this one-of-a-kind movie legend will enjoy this meaty, compelling biography.