Roll over image to zoom in
Peter Lorre: MMAS: Midnight Marquee Actors Series
£18.60£33.30 (-44%)
After coverning horror film icons Bela Lugosi, Boris Karloff, Lon Chaney, Jr. and Vincent Price, Midnight Marquee Press wanted to go in a slightly different direction for our fifth edition of the Actors Series, by highlighting quasi-horror man Peter Lorre. While the other entries in the series were predominantly horror film actors, Peter Lorre made many horror film appearances, but was never actually considered a horror film star. Instead, it was Lorre’s persona, that of a quirky, deviant little man, sometimes charming, sometimes boiling over with venom, that made him a perfect match for horror films. However, Lorre also played opposite such mainstream stars as Clark Gable, Humphrey Bogart, Sydney Greenstreet, Kirk Douglas, Mickey Rooney and Bob Hope. Lorre felt just as comfortable enacting supporting roles in A films as he did starring in the Bs. This book takes an in-depth look at the film work of this versatile performer by providing analyses of films such as M, Mad Love, The Face Behind the Mask, The Maltese Falcon, The Raven and The Comedy of Terrors as well as many of the other films that made Peter Lorre a film legend.
Read more
Additional information
| Publisher | Illustrated edition (8 Jan. 2009), Inc., Midnight Marquee Press |
|---|---|
| Language | English |
| Paperback | 320 pages |
| ISBN-10 | 1887664300 |
| ISBN-13 | 978-1887664301 |
| Dimensions | 15.24 x 1.85 x 22.86 cm |
by Tony Byworth
In my search for a Peter Lorre biography, I chose this one as I was happy with other Midnight Marquee publications. This one’s a little different though as it spotlights the actor’s films in chronological order with biographical information relating to Lorre’s career at the time of the respective films’ production. Plus, there’s several different contributors covering the films.
Commencing with Lorre’s debut in “M”, he appeared in over 80 movies during a 32-year period – a mixed bag that included thrillers, noir and horrors before his final roles alongside Vincent Price and Boris Karloff. Although several pages are devoted to already well familiar productions like “Maltese Falcon” and “Casablanca”, it’s rewarding to find detailing of lesser-known movies including “Quicksand”. “The Chase” and “The Lost One”, each synopsis ending with cast and crew credits. There’s also coverage of Lorre’s radio work, television and animation work. A good reference work if not a straightforward biography.