The Lost One

by Stephen D. Youngkin

  35 “great histrionic talent”: Jhering, “Dantons Tod.”

  36 “the breath of our times”: Alexander von Sacher-Masoch, “Wedekinds Frühlings Erwachen,” Vorwärts, Oct. 15, 1929.

  36 “gliding togetherness of both children”: Max Osborn, “Frühlings Erwachen,” Berliner Morgenpost, Oct. 16, 1929.

  36 “a youth to … everything a problem”: Franz Köppen, “Frühlings Erwachen in der Volksbühne,” Berliner Börsen-Zeitung, Oct. 15, 1929.

  36 “Probably no words … by Peter Lorre”: Walter Benjamin, “Wedekind und Kraus in der Volksbühne,” in Gesammelte Schriften, ed. Tillman Rexroth (Frankfurt am Main: Suhrkamp, 1972), vol. 4, pt. 2, p. 552.

  36 “the quiet Vulcan … explodes—and how”: Fritz Engel, “Frühlings Erwachen,” Berliner Tageblatt, Oct. 15, 1929.

  36 “An extraordinarily capable … in technical details”: Sacher-Masoch, “Wedekinds Frühlings Erwachen.”

  37 “If he is … of the part”: Bogdanovich, Who the Devil Made It, p. 208.

  37 “looked like a … and dark eyes”: Lang, interview.

  37 “I will do … star of it”: Lovksy, interview, May 12, 1977.

  37 “I was really … faith in it”: Marsh, “Lorre’s Stage Experience.”

  37 “my puss could not be photographed”: P.K., “Peter Lorre—Fan of Brecht.”

  37 “with a face … career in films”: Bill Slocum, “The Peter Lorre Nobody Knows,” New York Mirror, Feb. 19, 1960.

  37 “belief in miracles … this future music”: Lorre, “Auf vier Jahre.”

  38 “frightening occurrence in seven hilarious acts”: “Die verschwundene Frau,” advertisement, Bundesarchiv/Filmarchiv (Berlin).

  38 “cool twilight … recluses and eccentrics”: Malmberg, Widerhall des Herzens, pp. 133–34, quoted in Segel, Vienna Coffeehouse Wits, p. 22.

  38 “oddly ecclesiastical … of cigarette smoke”: Werfel, Pure at Heart, pp. 319–20, quoted in Segel, Vienna Coffeehouse Wits, pp. 23–24.

  39 “the great love”: Joseph, interview.

  39 “pose and pathos”: Grimstad, Masks of the Prophet, p. 10.

  39 “My brother and … boy scout troupe”: A. Lorre, interview, April 6, 1975.

  40 “In reality, Lorre … wants to play”: Berliner Börsen Courier, Nov. 1, 1929.

  40 “technical reasons”: B.F., “Karl Kraus klagt gegen die Volksbühne,” Berlin am Morgen, Nov. 2, 1929, reprinted in Die Fackel, nos. 827–33, Feb. 1930, XXXI, 35:32–33.

  40 “Lorre took the … over-exerted himself”: Kurt Pinthus, 8-Uhr-Abendblatt, Oct. 21, 1929, reprinted in Die Fackel, nos. 827–33, Feb. 1930, XXXI, 35:29.

  40 “He becomes loud … self-conscious shouting”: Herbert Jhering, “Die Unüberwindlichen in Berlin,” Berliner Börsen-Courier, Oct. 21, 1929.

  40 “At a time … full of joy”: Peter Lorre to Franz Theodor Csokor, Jan. 3, 1930, HWS.

  42 “had a chance … of the law”: Barrett, “Alsbergs Auditorium,” Berliner Zeitung, Oct. 15, 1930.

  42 “proving again and … with smallest means”: Emik Faktor, “Voruntersuchung,” Berliner Börsen Courier, Oct. 15, 1930.

  42 “amusing impudence of the cabaret performer”: Paul Wiegler, “Alsberg und Hesse: Voruntersuchung” Berliner Zeitung, Oct. 15, 1930.

  42 “so much laughing … people’s hands hurt”: “Die Quadratur des Kreises,” 8-Uhr-Abendblatt, Dec. 5, 1930.

  42 “terrific”: Erich Burger, “Die Quadratur des Kreises,” Berliner Tageblatt, Dec. 6, 1930.

  42 “Peter loved the … furthered his talents”: Lenya, interview.

  43 “a conception of … which few understand”: Bentley, Brecht Commentaries, p. 290.

  43 “he was very … didn’t come through”: Roth, interview.

  43 “the mentality of our time”: Bertolt Brecht, “The Epic Theatre and Its Difficulties,” quoted in Willett, Brecht on Theatre, p. 23. (Willett cites original German sources for selections from Brecht’s notes and theoretical writings.)

  43 “sentimental element of a worn out bourgeoisie”: Bertolt Brecht, “Kurzer Bericht über 400 junge Lyriker,” Die literarische Welt, Feb. 4, 1927.

  43 “wit sparkles like … heart to compassion”: “Dialogue about Bert Brecht’s Play A Man’s a Man,” in Brecht, Collected Plays, 2:238.

  43 “Invent a theory … will swallow anything”: Frank, Spielzeit meines Lebens, p. 266.

  43 “magnetic sleep by … waking them up”: Bentley, Brecht Commentaries, p. 259.

  43 “irrelevant emotion”: ibid., p. 58.

  43 “not … reality”: ibid., p. 61.

  44 “changes of emphasis”: Bertolt Brecht, “The Modern Theatre Is the Epic Theatre (Notes to the opera Aufstieg und Fall der Stadt Mahagonny),” in Willett, Brecht on Theatre, p. 37.

  44 “being … pretending”: Siebig, “Ich geh’ mit dem Jahrhundert mit,” p. 128.

  44 “realized that you … with the actor”: Roth, interview.

  44 “you never knew … Who cares, anyhow?’”: ibid.

  44 “what Brecht called … theater of types”: Szczesny, Case against Bertolt Brecht, p. 44.

  44 “I am so … alienation. Later maybe”: Lenya, interview.

  44 “stopped for a … enough for me”: Adam, “Lotte Lenya,” p. 709.

  45 “enigmatic, demonic, full … to the point”: Siebig, “Ich geh’ mit dem Jahrhundert mit,” p. 128.

  45 “whatever he learned from everywhere”: Roth, interview.

  45 “strange faces, strange … them twelve marks”: ibid.

  45 “Brecht followed the … kind of acting”: Bentley, interview.

  45 “Brecht found Peter … influence is necessary”: Feuchtwanger, interview.

  45 “other possibilities”: Bertolt Brecht, “Short Description of a New Technique of Acting Which Produces an Alienation Effect,” in Willett, Brecht on Theatre, p. 137.

  45 “Brecht was fascinated … natural Brecht actor”: Bentley, interview.

  46 “It might be … the parts together”: Zerka Moreno to author, Jan. 8, 1985.

  46 “natural gestures”: Feuchtwanger, interview.

  46 “the most objective … contradictory internal process”: Bertolt Brecht, “The Question of Criteria for Judging Acting (Notes to Mann ist Mann),” in Willett, Brecht on Theatre, p. 54.

  46 “means both gist … words or actions”: Brecht, “The Modern Theatre Is the Epic Theatre,” p. 42.

  47 “socially critical … the character portrayed”: Brecht, “Short Description,” p. 139.

  47 “He used freedom … bare man’s cupidity”: Joseph Pevney to author, Aug. 21, 1975.

  47 “When an actor … I take it”: Lenya, interview.

  47 “recalled how [Brecht’s] … among its participants”: Greenberg, “Peter Lorre.”

  47 “harmonious cooperation which … the European theatre”: Manfred George, “Peter Lorre Returns to the German Cinema,” NYT, Sept. 23, 1951.

  47 “If there’s not … be in there”: Roth, interview.

  47 “they might well … humour and meaning”: “Notes on Erwin Strittmatter’s Play Katzgraben,” in Willett, Brecht on Theatre, p. 247.

  48 “worked hard, but … very creative fun”: Roth, interview.

  48 “into the hands … him lying skinless”: Bertolt Brecht, “Editorial Notes,” in Brecht, Collected Plays, 2:246.

  48 “human type”: Bertolt Brecht, “Introductory Speech (For the Radio),” ibid., 2:237.

  48 “a private person … in the mass”: ibid.

  48 “Brecht declare[d] that … a classic comedy”: Elisabeth Hauptmann, “Notes on Brecht’s Works, 1926,” in Witt, Brecht as They Knew Him, p. 51.

  48 “precious ego … It’s a jolly business”: Brecht, “Introductory Speech,” 2:237.

  48 “monstrous mixture of comedy and tragedy”: Brecht, “Editorial Notes,” 2:248.

  48 “possibly you will … person to object”: Brecht, “Introductory Speech,” 2:238.

  48 “socially negative hero … po
wers of attraction”: Bertolt Brecht, “On Looking through My First Plays,” in Brecht, Collected Plays, 2:245.

  49 “the only compliment … for several pages”: Slavitt, “In the Red.”

  49 “new point of view”: Brecht, “The Question of Criteria,” p. 53.

  49 “clarity and the … his meaning clear”: Herbert Jhering, “Scandal in the Staatstheater,” Berliner Börsen-Courier, Feb. 7, 1931.

  49 “hallmarks of great … interruptions and jumps”: Brecht, “The Question of Criteria,” pp. 53–55.

  50 “They’re pale, they’re scared, that’s what”: Benjamin, Understanding Brecht, p. 115.

  50 “the packer’s face … the soldier’s face”: Brecht, “The Question of Criteria,” p. 55.

  50 “He had put … as a sheet”: Bentley, interview.

  50 “influenced by fear … the more profound”: Brecht, “The Question of Criteria,” pp. 55–56.

  50 “Brecht laughed over … get the effect”: Bentley, interview.

  50 “Peter’s quietness, subtle … Brecht liked this”: Feuchtwanger, interview.

  50 “the Hitlerite actor … a mass meeting”: Bentley, Brecht Commentaries, p. 59.

  50 “the separation of … a tragic one”: Bertolt Brecht, “Alienation Effects in the Narrative Pictures of the Elder Brueghel,” in Willett, Brecht on Theatre, p. 157.

  51 “There was an … very long time”: Bentley, interview.

  51 “He is a … and in us”: “Staatliches Schauspielhaus Berlin,” B.W. (Zeitung?), Feb. 7, 1931, reprinted in Rühle, Theater für die Republik, pp. 1071–72.

  2. MIS FOR MORPHINE

  Epigraphs: King, interview by Katz; Lorre, quoted in unidentified newspaper clipping, ca. 1935, PLS.

  1. Carl Balhaus played the part of Moritz Stiefel in the film, which was released in 1929. Some filmographies mistakenly credit Lorre with appearing in Frühlings Erwachen (1929) as well as Der weisse Teufel (The White Devil, 1930), possibly confusing it with Der weisse Dämon (The White Demon), in which he appeared in 1932.

  2. Early variations on the same theme included Eine Stadt sucht einen Mörder (A City Searches for a Murderer) and Dein Mörder sieht dich an (Your Killer Looks at You).

  3. Acknowledged then, but overlooked later, was a series of stories about Kürten’s activities supervised by Egon Jacobson, editor-in-chief of the Berliner Zeitung am Mittag, who was credited—on-screen—for his article on which Lang based his film.

  4. All dialogue from M, unless otherwise indicated, is taken from Nicholas Garnham, Classic Film Scripts: M a film by Fritz Lang (New York: Simon and Schuster, 1968).

  5. Originally cast as Schränker, Hans Peppler died suddenly of appendicitis in mid-December 1930.

  6. For further discussion of the sexual significance of Grieg’s “In the Hall of the Mountain King,” refer to Tatar, Lustmord, p. 158.

  7. This scene, not contained in the Garnham film script, is taken from the Home Vision Cinema version of M, released in 1997.

  8. After emigrating to the United States, Kurt Siodmak, who changed his name to Curt Siodmak, became a prolific screenwriter in Hollywood.

  9. Lorre, Lang, and Nebenzal attended the Paris premiere of M at the Studio des Ursulines on April 18, 1932. The actor, however, did not join his producer and director for the June 5 debut at London’s Cambridge Theatre, graced also by members of the English diplomatic corps and officials from the German Embassy. Nonetheless, the trades reported that Lorre had recreated his performance in English for a dubbed version of M recorded in England. In his piece “Auf vier Jahre Rückblick und eine Vorschau” (Four Years Looking Backward and Forward), for Mein Film, March 17, 1933, the actor claimed to have “played the part in the German and English versions.” Since, according to Celia Lovsky, Lorre did not visit England until 1934, when he was invited there by Alfred Hitchcock, it is likely he dubbed his own voice in Berlin. Unfortunately, the English version is now lost.

  10. Still unforgiving of Lang’s ill treatment during the filming of M, Lorre later told an interviewer he did not “know then [in 1929] that Lang was one of the really fine directors of the screen.” At the same time that he snubbed the legendary filmmaker, he put Brecht—who was in the United States at the time—on a pedestal. Marsh, “Lorre’s Stage Experience.”

  11. Reference to Lorre’s youthful appearance, Erich Burger, “Volksstück 1931? Georg Kaisers ‘Nebeneinander’ in der Voksbühne,” Berliner Tageblatt, Sept. 17, 1931.

  12. Reference to Alfred Kerr on German fraud, “Verneuil: Die Nemo-Bank,” Berliner Tageblatt, Dec. 24, 1931.

  13. After emigrating to America, Hermann Kosterlitz changed his name to Henry Koster.

  14. Lorre expressed his regret to Siodmak that his language skills were not up to the task of playing in the French and English versions. Curt Siodmak, “Tribute to Peter Lorre,” in Cargnelli and Omasta, Aufbruch ins Ungewisse.

  15. Examiners specifically objected to showing the profitable possibilities of the drug trade (and what appeared to be a how-to-smuggle guide); the anticipation of a fix; the calming, almost benign nature of morphine; the active involvement of the user; and the authorities’ inability to deal with the problem. They recommended making the drug-dependence issue more black and white, emphasizing the dangers inherent in narcotics addiction, and downplaying the soothing, euphoric effects of opiates. The studio simultaneously shot a French version, in which Lorre also appeared, titled Stupéfiants (Narcotics). The picture was also released as Rauschgift (Dope) in Austria. “Der weisse Dämon,” Regierungsoberinspektor Dr. Seeger, Film-Oberprüfstelle, Berlin, Nov. 10, 1932, Staatliches Filmarchiv der DDR.

  16. Actor-director Johannes Riemann (1888–1959); actor-playwright Eugen Rex (1884–1943).

  17. The “perfect linguist,” said Katscher, Lorre “was accepted to play the part also in the French version,” Les requins du Pétrole (The Oil Sharks). Rudolf Katscher to author, Nov. 16, 1980.

  18. Reference to the film review by F.B.,” Unsichtbare Gegner,” Deutsche Allgemeine Zeitung (Berlin), Sept. 23, 1933.

  19. Given the political situation, said Celia, Peter did not consider invitations to perform in vaudeville on stages in Vienna and Zurich. Lovsky, interview, Oct. 14, 1973.

  20. This effort marked the first of two incidental story collaborations with Billy Wilder. Asked later why he never used the actor in one of his films, the legendary director replied, “I did think of casting Lorre in one of my films. Somehow the right part never came along.” Billy Wilder to author, Aug. 8, 1986.

  21. One of the film offers was likely that from Alexis Granowsky, who had directed Lorre in Die Koffer des Herrn O.F. and wanted the actor for Les Nuits Moskovites (Moscow Nights, 1934).

  QUOTATION SOURCES BY PACE NUMBER

  52 “virgin”: Riess, Das gab’s nur einmal, p. 306.

  52 “I sometimes cursed … any film offers”: unidentified clipping, PLS.

  52 “I never paid any attention to it”: Lorre, interview by Glover.

  52 “Peter confessed to … what Lang wanted”: Reisch, interview.

  53 “A director should … make any movies”: Lang, interview.

  53 “big canvasses”: Fritz Lang, interview by Gretchen Berg, 1965–66, FLC USC.

  53 “what makes him … makes him tick”: Gandert, “Fritz Lang über ‘M,’” p. 123.

  53 “The first idea … to catch [Kürten]”: Fritz Lang, “Some Random Notes about M,” FLC, USC.

  53 “every human mind … of your peers”: Fritz Lang, “Director Tells of Blood Letting and Violence,” Los Angeles Herald-Express, Aug. 12, 1947.

  53 “Let’s make a … resents very much”: “Fritz Lang Seminar,” Dialogue on Film, April 1974.

  54 “This is not … everything before me”: Riess, Das gab’s nur einmal, p. 421.

  54 “to explain Kürten … disintegrating social system”: Lang, interview by Berg.

  54 “synthesis of facts”: Lang, “Some Random Notes about M.”

  54 “habit of sending �
�� a sick mind”: Lang, interview by Berg.

  55 “a two-natured human being”: Lenk and Kaever, Leben und Wirken des Peter Kürten, p. 83.

  55 “fill in some of the gaps”: Lang, interview by Berg.

  55 “Wordless, he sat … at the guests”: “M macht ein Ende,” Der Spiegel (Hannover), Aug. 25, 1949.

  55 “A director should … a cops-and-robbers story”: Bogdanovich, Who the Devil Made It, pp. 201, 220.

  56 “plain thriller”: John Grierson, Everyman (London), June 16, 1932, reprinted in Hardy, Grierson on the Movies, p. 66.

  56 “higher instincts”: “Berliner Studenten diskutieren mit Fritz Lang,” Film-Kurier (Berlin), May 23, 1931.

  56 “witness to the 30s”: Michel Ciment, Goffredo Fofi, Louis Seguin, and Roger Talleur, “Fritz Lang in Venice,” Positif 94 (April 1968): 9–15, reprinted in Grant, Fritz Lang Interviews, p. 100.

  56 “looks after the … pros and cons”: Gandert, “Fritz Lang über ‘M,’” p. 124.

  58 “gives wordless expression to his inner urges”: ibid., p. 126.

  58 “Though Peter had … to fake it”: Lang, interview.

  58 “I am a … off balance mentally”: Gene Phillips, “Fritz Lang Remembers,” Focus on Film (Spring 1975).

  58 “If I play … display his symptoms”: Marguerite Tazelaar, “Even the Doctors Are Amazed When Lorre Acts Pathological,” New York Herald-Tribune, Nov. 3, 1935.

  59 “Lang wrung him … and his best”: Falkenberg, interview.

  59 “Peter fainted … used that shot”: Curt Siodmak to author, March 26, 1975.

  59 “Stalin of Film”: “Fritz Lang’s Tonfilm,” Film-Kurier, May 12, 1931.

  59 “Look, if you … anything to say”: Bogdanovich, Who the Devil Made It, p. 228; Lang, interview by Berg.

  59 “liked to stir … atmosphere of tension”: Bienert, interview.

  59 “I came upon … off the salami”: A. Lorre, interview by Bigwood.

  59 “A director … exists in himself”: Lang, interview.

  60 “unloosened … have done that”: Falkenberg, interview.

  60 “If you don’t … injunction against you”: Lang, interview.

  60 “muttered dire threats … a steady keel”: Falkenberg, interview.