Peter Lorre, a name synonymous with captivating villainy and surprising comedic timing in classic Hollywood, passed away on March 23, 1964. This marked the end of a remarkable life and career that spanned from the stages of Vienna to the silver screens of Hollywood, leaving behind a legacy of unforgettable performances. News of his death at the age of 59, due to an apparent stroke, resonated across the entertainment industry and with fans worldwide who admired his unique talent.
Lorre’s death occurred in his Hollywood apartment at 7655 Hollywood Blvd. His physician, Dr. Joe Golenternak, pronounced him dead around 10 a.m., a mere half-hour after a scheduled divorce hearing with his estranged wife, Anna Marie Stoldt, was postponed. The postponement, decided by Superior Judge Burnett Wolfson, was due to incomplete property settlement arrangements, rescheduling the hearing to April 6th.
Alt text: Peter Lorre, known for his distinctive eyes and versatile acting, in a scene from “The Maltese Falcon,” highlighting his memorable role in the film noir classic.
Lorre was discovered in his nightclothes beside his bed by his maid, Beatrice Lane, who arrived for her daily duties around noon. Lester Salkow, Lorre’s agent, indicated that the actor had been unwell for a couple of days prior to his passing. Mrs. Lorre, a former publicity agent, was notified at her Beverly Hills residence and arrived at the apartment before Lorre’s body was taken to Pierce Bros. Mortuary in Hollywood. She then undertook the difficult task of informing their 10-year-old daughter, Kathryn, about her father’s death. Services were held on Thursday at 1 p.m. at Pierce Bros., though burial arrangements were yet to be finalized at the time of the initial report.
Vincent Price, who frequently collaborated with Lorre in horror films, expressed deep sorrow upon hearing the news. Price described Lorre’s death as a “tragedy” and lauded him as “the most inventive actor I’ve ever known.” He emphasized Lorre’s multifaceted talent, acknowledging him as “a great scholar, an accomplished dramatic actor and a masterful comedian.” Price highlighted Lorre’s focus on entertaining audiences rather than seeking critical acclaim or delivering weighty messages, noting, “Peter liked to make pictures which entertained people, not critics. He didn’t have any pretensions about conveying messages to the world.”
The presumed cause of death, a stroke, aligned with Lorre’s known medical history of high blood pressure. This condition had troubled him for years, even leading to a rather dramatic incident in 1959 while filming in Spain. During an attack, a doctor resorted to the antiquated practice of blood-letting using leeches to try and reduce Lorre’s blood pressure.
Alt text: Peter Lorre and Vincent Price, two iconic figures of horror cinema, in a promotional still, showcasing their collaborative work in the genre.
Peter Lorre, born László Löwenstein in Rosenberg, Hungary, possessed a unique screen presence that allowed him to embody both sinister villains and subtly humorous characters with equal conviction. His Hungarian accent and distinctive bulging eyes became trademarks that contributed to his memorable portrayals. He was often typecast as the quintessential villain, the “little man of gigantic crimes,” capable of conveying menace with a suave and understated demeanor. His villainous roles became so impactful that in 1949, the BBC famously advised parents to ensure their children were in bed before Lorre appeared on television screens in a horror role, fearing his appearance would be “too alarming” in close-up. Lorre himself humorously acknowledged his capacity to frighten audiences, once remarking, “You know I can get away with murder. The audience loves me.”
However, Lorre’s talent extended far beyond villainy. He achieved considerable popularity portraying the enigmatic Japanese detective Mr. Moto in a series of films. Reflecting on his career versatility, Lorre once stated, “If I had wanted to remain one character, I could still be playing Mr. Moto.” His villainous portrayals were frequently infused with comedic elements, showcasing his ability to blend genres. His final film role was in Jerry Lewis’s comedy, “The Patsy,” demonstrating his continued engagement with diverse roles until the end of his career.
Alt text: Peter Lorre in Fritz Lang’s “M” (1931), portraying Hans Beckert, a child killer, in a role that marked his international breakthrough and showcased his dramatic intensity.
Director John Huston, a respected figure in Hollywood, recognized Lorre’s exceptional talent, considering him “one of the finest actors in Hollywood.” Huston lamented that Lorre’s effectiveness as a menacing figure often led to him being confined to horror films, believing that “the movie moguls tended to waste him in horror films.” Huston asserted Lorre’s broad acting capabilities, stating, “He could do anything well—except play romantic leads.”
Off-screen, Lorre was known as an erudite and engaging raconteur. In his earlier years in Hollywood, he was a member of the informal “Holmby Hills Rat Pack,” a group led by Humphrey Bogart that convened regularly for evening drinks, often extending into lengthy gatherings.
Lorre’s journey to Hollywood stardom began after running away from his Vienna home at 17, drawn to the allure of the stage. He spent a decade performing in minor roles in amateur productions before landing his breakthrough film role in 1931. This role was the chilling portrayal of a psychopathic child killer in Fritz Lang’s German masterpiece, “M.” This performance catapulted him to international fame and paved the way for further opportunities. His first English-speaking role was in Alfred Hitchcock’s early thriller, “The Man Who Knew Too Much.” Remarkably, Lorre delivered his lines in English without yet understanding the language.
His move to Hollywood marked the beginning of a distinguished 30-year career. Despite often being cast as psychopaths, Huston’s decision to cast him in a more comedic role in “The Maltese Falcon” alongside Humphrey Bogart and Sidney Greenstreet showcased his versatility to American audiences. His collaborations with Greenstreet became a popular feature of classic Hollywood cinema, with the duo appearing in numerous films together. However, they consciously decided to dissolve their partnership, with Lorre humorously stating, “We broke up the team ourselves. We didn’t want to become a dramatic Abbott and Costello.”
Lorre maintained a consistent work ethic throughout his career, often transitioning directly from one film to another without extended breaks. He humorously described himself as a “lazy man” who worked “awfully hard,” emphasizing his deep-seated need to act, stating, “I couldn’t live without acting. In fact anybody who can live without that feeling is a complete idiot.”
Peter Lorre was married three times. His first two marriages were to actresses: Celia Lovsky, who was of Russian origin, and Karen Verne, from Vienna. He married Anna Marie Stoldt, his third wife, in 1952. Stoldt filed for divorce in October prior to his death, citing cruelty and accusing Lorre of being “utterly irresponsible” with his finances, despite earning a substantial annual income, alleging he “irresponsibly wasted and squandered” it.
Peter Lorre’s death marked the loss of a truly unique and influential figure in cinematic history. His ability to masterfully portray both the menacing and the mirthful ensured his enduring legacy as one of Hollywood’s most unforgettable character actors. While we remember when Peter Lorre died – March 23, 1964 – his performances continue to captivate and entertain audiences, ensuring his place in the pantheon of great actors.
