Peter Lorre, born László Löwenstein in 1904 in what was then Rózsahegy, Austria-Hungary (now Ružomberok, Slovakia), embarked on an extraordinary journey from his European roots to become a celebrated, albeit often typecast, figure in Hollywood. Born to Hungarian Jewish parents, Lorre’s early life in the Austro-Hungarian Empire exposed him to both Hungarian and German languages, setting the stage for a multilingual career that would span continents and genres.
Despite attending elementary and secondary schools in Vienna, Lorre’s formal education was cut short. Driven by a passion for the dramatic arts, the young László ran away from home and briefly worked as a bank clerk before pursuing stage training in Vienna. By 1922, at the age of 17, he made his acting debut in Zurich, Switzerland, marking the beginning of his professional acting career. For several years, Lorre honed his craft on stage, touring through Vienna, Berlin, and Zurich, and even collaborating with the influential Bertolt Brecht.
His breakthrough role came in 1931 when acclaimed director Fritz Lang cast him as the chilling child killer Hans Beckert in the seminal German film M: Eine Stadt sucht einen Mörder (M). This performance, showcasing Lorre’s distinctive voice and unsettling screen presence, catapulted him to international attention. He further expanded his repertoire by learning French for roles in subsequent German films.
As the Nazi regime rose to power in Germany, Lorre, like many Jewish artists, sought refuge elsewhere. He initially moved to Paris, where he made one film, before relocating to London. In London, his career took another significant turn when Alfred Hitchcock cast him as the memorable villain Abbott in The Man Who Knew Too Much (1934). Remarkably, Lorre learned his lines phonetically for this English-speaking role, demonstrating his adaptability and commitment to his craft.
By 1935, Peter Lorre had arrived in Hollywood, where he quickly established himself as a versatile character actor. His initial roles in America were striking: a mad scientist in Mad Love (1935), directed by fellow German émigré Karl Freund, and the lead role of Raskolnikov in Crime and Punishment (1935), under the direction of Josef von Sternberg. The latter film was particularly significant as it was Lorre’s own suggestion, proving to be a successful venture. He briefly returned to England for Hitchcock’s Secret Agent (1936) before grappling with personal challenges, entering rehab to overcome a morphine addiction.
Upon recovery, Lorre faced the realities of Hollywood typecasting. To secure work, he reluctantly accepted the lead role in Mr. Moto and the China Seas Treasure (1937), the first of the “Mr. Moto” series. This role required him to use makeup to exaggerate his already prominent eyes to portray a Japanese detective. Despite his reservations, the “Mr. Moto” films became a popular series, committing Lorre to eight more films in the next two years.
The 1940s saw Peter Lorre flourish in a range of roles, moving beyond B-pictures with films like The Maltese Falcon (1941). He became known for his portrayals of villains, spies, and even comedic characters. His filmography from this decade includes iconic movies such as Casablanca (1942), where he played the nervous Ugarte, and a comedic turn in Arsenic and Old Lace (1944).
After World War II, from 1946 to 1949, Lorre diversified his career, focusing on radio and stage work while still appearing in films. In 1950, he journeyed to West Germany to write, direct, and star in Der Verlorene (The Lost One) (1951), a critically acclaimed German-language film adapted from his own novel. This project showcased his depth as an artist beyond acting.
Returning to the United States in 1952, Lorre, now noticeably heavier, embraced live television, leveraging his stage acting experience. He appeared in numerous TV productions throughout the 1950s, including a notable role as Le Chiffre in the first screen adaptation of James Bond, Casino Royale (1954), broadcast shortly after Ian Fleming’s novel was published. Throughout the decade, he continued to work in television series and films, often playing to type but also taking on comedic roles that parodied his own persona, such as in Around the World in 80 Days (1956) and The Big Circus (1959).
In his later career, during the late 1950s and early 1960s, Peter Lorre collaborated with low-budget filmmakers Roger Corman and Irwin Allen, appearing in films like Voyage to the Bottom of the Sea (1961). His final film appearance was in Jerry Lewis’ The Patsy (1964). Peter Lorre passed away from a stroke in 1964, leaving behind a legacy as one of cinema’s most distinctive and unforgettable character actors. His journey from Austro-Hungarian beginnings to Hollywood icon is a testament to his talent, adaptability, and enduring impact on film history.
