Vigny, Benno
Vincent, Allen
Vincent, June
Volksbühne, Berlin
von Harbou, Thea
von Sternberg, Josef; Crime and Punishment (1935)
Voodoo Woman (1956)
Voruntersuchung (Preliminary Investigation Alsberg and Hesse)
Voyage to the Bottom of the Sea (1961)
Wachsmann, Franz. See Waxman, Franz
Wald, Jerry
Walker, Alexander
Walker, Theodore J.
Walker, Vernon L.
Wall, Hilde
Wallace, Mike
Wallensteins Tod (Wallenstein’s Death) (Schiller)
Wallis, Hal; Casablanca (1942); Conspirators, The (1944)
Walsh, Bill
Walsh, Raoul
Walton, William
Waltzes from Vienna (1933)
War Is Declared (Panski)
Warner, Albert
Warner, Harry
Warner, Jack L.; Arsenic and Old Lace (1944); Casablanca (1942); Hotel Berlin (1945); called “kreep” by Bogart/Lorre; and Lorre; Maltese Falcon, The (1941); Verdict, The (1946)
Warner, Sam
Warner Bros. Pictures; All Through the Night (1942); anti-Nazi stance of; Arsenic and Old Lace (1944); Background to Danger (1943); Beast with Five Fingers, The (1946). Casablanca (1942); and film noirn.; Hotel Berlin (1945); Lorre, contract with. Lorre, contract with, end of; Lorre, dissatisfaction with; Lorre, drug addiction, during time at; Lorre, life at; Lorre, remembering; Lorre vs. Greenstreet, payment of; Maltese Falcon, The (1931); Maltese Falcon, The (1941); and Mr. Moto; Three Strangers (1946); union troubles; Verdict, The (1946); Verne, contract with; war pictures
Warren, Joseph
Was Frauen träumen (What Women
Dream 1933)
Wassermann, Jakob
Waterbury, Ruth
Watkins, Anne
Waxman, Franz, B3 Wayne, David
Wayne, John
Weaver, Tom
Wedekind, Frank
WED (Walt Elias Disney) Enterprises
Wegener, Paul
Weigel, Helene
Weiler, A.H.
Weill, Kurt
Weingand, Eugene, 453
Weisse Dämon, Der (The White Demon)
Weisse Fracht (White Cargo) (Gordon)
Welles, Orson, 370
Wenn wir alle Engel wären (If We Were All Angels)
Wenn wir altern (When We Grow Old) (Blumenthal)
We’re No Angels (1955)
Werfel, Franz
Wernicke, Otto
West, Mae
Westbrook, Kate
Wharton, Carly
While Six Million Died: A Chronicle of American Apathy (Morse)
Who Did What to Fadalia? (Wilson)
Wie es euch gefällt (As You Like It) (Shakespeare)
Wiene, Robert
Wiener Allgemeine Krankenhaus
Wiener Handels-Akademie
Wigger, Florenz
Wigger’s Kurheim
Wilde, Oscar
Wilder, Billy; and Lorre, in Hollywood; and Lorre, in Paris; and Lorre, writing with
Wilhelm, Hans
Willett, John
William, Warren
William Cagney Productions
William Morris Agency
Williams, Garland H.
Williams, Lucy Chase
Williams, Robin
Williams, Whitney
Wilson, Dooley
Wilson, Earl
Wilson, Frank
Wilson, Meredith
Wine of Choice (Behrman)
Winge, Hans
Winter Garden. See Mr. Moto’s Last Warning (1939) Winters, Norman
Wisbar, Frank
Wolfson, Burnett
Wolfson, P.J.
Wollenberg, Hans
Woman and the Emerald, The (Jenkins)
Woolf brothers
Woolrich, Cornell
World War I
World War II; aftermath in Germany; aftermath in Germany, for émigrés returning; allied invasion of France; Berlin, fall of; Casablanca, Allied capture of; charity/radio shows during; Hamburg, bombing of; July 1944 mutiny against Hitler; Nazi saboteurs landing in Florida; Pearl Harbor; war crimes; Warner Bros. war pictures. See also Hitler, Adolf; Nazism Wurtele, Morton
Wurtzel, Sol M.
Wynn, Keenan
Yergin, Irving; as friend; as publicist, during Lorre’s drug investigation
Yergin, Naomi
Yosemite Sam
You’ll Find Out (1940)
Young, Alastair
Young, Arthur
Young, Loretta
Young, Robert
Zangwill, Israel
Zanuck, Darryl F.
Zastupnevich, Paul
Zeisler, Alfred
Zirkus-Renz, Vienna
Zirkus Renz (1943)
Zohn, Harry
Zola, Emile
Zorina, Vera
Zucco, George
Zuckmayer, Karl
Zukor, Adolph
Zweig, Stefan
László and Elvira, ca. 1907.
László Loewenstein, ca. 1908.
Left to right: Liesl, András (Andrew), Ferenc (Francis), and László (Peter), ca. 1911.
Peter Lorre’s father, Lieutenant Alajos Loewenstein, 1903.
Alajos Loewenstein during the war, ca. 1916.
Die fleissige Leserin (The Diligent Reader), Kammerspiele, Vienna, 1926. Peter Lorre is second from right.
As a merry deserter in Marlborough zieht in den Krieg (Marlborough Goes to War), Kammerspiele, Vienna, 1926.
Grete Witzmann and Peter Lorre kneel in prayer in Die Stunde des Absterbens (The Hour of Dying Off), Theater in the Josefstadt, Vienna, 1927.
“Die Ohrfeige” (“Box on the Ear”) in Ein Abend der Überraschungen (An Evening of Surprises), Theater in the Josefstadt, Vienna, 1927. Left to right: Egon Friedell, Karl Ehmann, Fritz Strehlen, Hans Ziegler, Peter Lorre, and Rudolf Beer; in front, Gisela Werbezirk.
An early publicity postcard addressed to “Bundy,” Peter’s brother Andrew, 1927.
Celia Lovsky, ca. 1924.
Lotte Lenya and Peter Lorre in Marieluise Fleisser’s Pioniere in Ingolstadt (Engineers in Ingolstadt), Theater am Schiffbauerdamm, Berlin, 1929. Photo by Lotte Jacobi.
As Moritz Stiefel in Wedekind’s Frühlings Erwachen (Spring’s Awakening), Volksbühne, Theater am Bülowplatz, Berlin, 1929. Photo by Lotte Jacobi.
Playing a dental patient in his only silent film, Die verschwundene Frau (The Missing Wife), 1929.
Behind the scenes on Mann ist Mann (Man Equals Man) with Alexander Granach and Theo Lingen, Staatstheater, Berlin, 1931. Courtesy of Ronald V. Borst / Hollywood Movie Posters.
Peter Lorre and Lotte Lenya in Mann ist Mann (Man Equals Man), Staatstheater, Berlin, 1931. Courtesy of Ronald V. Borst / Hollywood Movie Posters.
Rare shot of Lorre as Galy Gay (before his transformation into Jeremiah Jip) taking a break with Elfriede Borodin during Mann ist Mann (Man Equals Man) production, Staatstheater, Berlin, 1931.
M, Danish film poster, 1946 reissue.
M, British trade ad, 1932.
M le maudit (The Damned One), French film poster, 1932.
Peter Lorre and Fritz Lang study the script on the set of M, 1931.
“In the name of the law,” Peter Lorre’s final scene in M, 1931.
As editor Stix in Die Koffer des Herrn O.F. (The Luggage of Mr. O.F.), 1931.
As “Foto Johnnny” in F.P.1 antwortet nicht (Floating Platform 1 Doesn’t Answer), 1932.
Peter and Celia, Berlin, 1932.
Peter and Celia on holiday in the Black Forest before fleeing Hitler, 1932.
As Judas Iscariot in Golgotha, Zirkus-Renz, Vienna, 1933. Courtesy of the Österreichisches Theatermuseum, Vienna.
Peter and Celia, just married at the General Register Office in Westminster, June 22, 1934. Lorre arrived at the ceremony in full makeup for his r
ole in Alfred Hitchcock’s The Man Who Knew Too Much (1934), which was being filmed at Lime Grove Studios.
Fritz Lang takes anthropometric measurements of the plaster cast of Lorre’s head from Mad Love, 1935. Courtesy of Tom Kelley Studio.
Émigré dinner at the Schildkrauts. Left to right, seated: Joseph Schildkraut, Peter Lorre (almost hidden), Mrs. Erich von Stroheim, G.W. Pabst, Marie Schildkraut, Fritz Lang, Mrs. G.W. Pabst, Erich von Stroheim, and Celia Lovsky. Standing: Alice Waxman, Franz Waxman, and Mr. Rappaport. Hollywood, 1935.
Peter and Celia, ca. 1935.
Peter Lorre caricature by Paolo Garretto, 1935.
On the set of Crime and Punishment, 1935. Left to right: Douglass Dumbrille, Tala Birell, Marian Marsh, Peter Lorre, and director Josef von Sternberg.
Character study, ca. 1935. Courtesy of Motion Picture & TV Research Service, Los Angeles.
A Columbia photographer shapes Lorre’s star image, Santa Monica, 1935.
Reveling in his new American lifestyle, Santa Monica, 1935.
Peter Lorre as Hairless Mexican in Secret Agent. Caricature by Gitano, 1936.
John Gielgud, Alfred Hitchcock, and Peter Lorre on the set of Secret Agent, 1936. Courtesy of National Film Archives / Stills Library, London.
Alfred Hitchcock (on left), Peter Lorre (second from right), and extras on the set of Secret Agent, 1936.
Publicity shots in anticipation of the stage production of Napoleon the First, 1935.
Peter Lorre in character as Mr. Moto on the set with John P. Marquand, author of the Mr. Moto stories, 1938.
Peter and Celia, ca. 1939.
Film program featuring a collage of images from Fritz Hippler’s Der Ewige Jude (The Eternal Jew) 1940, including a scene from M.
Publicity shot of Lorre in The Face behind the Mask, 1941.
Karen Verne, ca. 1940.
Humphrey Bogart, Karen Verne, and Peter Lorre relaxing during production of All Through the Night, 1941.
Candid with cactus, ca. 1945. Photo by Robert Mack.
Puck and the Old Man (Lorre and Greenstreet) during filming of The Mask of Dimitrios, 1944.
With director Jean Negulesco and costars Zachary Scott and Sydney Greenstreet on the set of The Mask of Dimitrios, 1944.
Peter Lorre goes over a radio script with producer and director William Spier before a CBS Suspense broadcast, ca. 1944.
Peter at his healthiest: playing tennis at the Beverly Hills Tennis Club
relaxing at the beach ca. 1943.
Horseback riding with Karen in Mandeville Canyon, ca. 1945.
Peter Lorre with Karen Verne and his sister-in-law, Zelma (Mrs. Andrew) Lorre, ca. 1945.
Out on the town with Bogart and Lauren Bacall, ca. 1945.
On the set with Bacall preparing for his death scene in Confidential Agent, 1945.
Peter Lorre and Bob Hope on the set of My Favorite Brunette, 1947.
“The Touch of Your Hand,” Mystery in the Air radio series, with Peter Lorre, Hans Conreid (in sound booth), and announcer Harry Morgan (fifth from left), July 17, 1947.
Annemarie Brenning, at the time Lorre met her, 1950.
Der Verlorene (The Lost One), German film poster, 1951.
Turning back the clock in Der Verlorene (The Lost One), 1951.
Karl Rothe confronts the Totmacher (death maker) in the mirror, Der Verlorene (The Lost One), 1951.
A pensive Peter Lorre during the shooting of Der Verlorene (The Lost One), 1951.
The defining image of Peter Lorre in Der Verlorene. Courtesy of Ronald V. Borst / Hollywood Movie Posters.
Lorre, cameraman Vaclav Vich (left), and editor Carl O. Bartning, taking a break during filming of Der Verlorene.
Lorre and Egon Jameson at the Frankfurt premiere of Der Verlorene.
On the set of Beat the Devil, 1954. Left to right: Peter Lorre, Marco Tulli, Robert Morley, Humphrey Bogart, Gina Lollobrigida, and Edward Underdown. Courtesy of National Film Archives / Stills Library, London.
“I’m not a dancer,” Peter Lorre told Hermes Pan, who choreographed the “Too Bad (We Can’t Go Back to Moscow)” number in Silk Stockings, 1957. Joseph Buloff, Jules Munshin, and Peter Lorre.
Peter and Catharine, ca. 1958.
Peter Lorre and Vincent Price in costume for The Big Circus, 1959, inscribed to Lester Salkow, their agent.
Final portrait, taken shortly before Lorre’s death, 1964.
Catharine Lorre with Devlin, 1978. Photo by Judith Atherton.
The Lost One Page 94