Fuck Yeah Peter Lorre!
Peter chillin’ on the beach, c. 1943

Peter chillin’ on the beach, c. 1943

You’re right! Thanks for the insight. I even found this illustration on his wikipedia page here.

(hope this helps, anon?)

Peter Lorre Art

I am trying to find information on this sharp looking piece of art that appears to be Peter Lorre.   It is signed Sic but I have found nothing even close to this style of work or the artist.  Anybody out there able to assist with this?

image

image

image

Thanks for the submission!

If I had to guess, I think it’s supposed to be William Powell. The blue eyes, ‘stache, tall-ness and thin-ness seems more like him than a Peter Lorre illustration in my opinion. At least, I think so…

I’ll put it in the tag, but perhaps you could try asking one of the Powell-centric blogs? Maybe this one or this one?

If anyone has any info on the print, we’d love to hear it! It’s a fine illustration.

-monocoleporter

(Edit: vestisferrea has pointed us in the right direction- it’s a caricature of Max Beerbohm that appeared in Vanity Fair in 1897. The artist is Walter Sickert, according to the Wikimedia page. Thanks!)

Peter Lorre & friend in ‘Three Strangers

idlesuperstar:

Happy Birthday Peter Lorre [László Löwenstein]: 26th June 1904 - 23rd March 1964

Lorre - perhaps it is a misfortune - can do almost anything. He is a genius who sometimes gets the finest effects independently of his director, but he is also a throroughly reliable repertory actor…I have a horrible fear that film directors will find it easier to follow in Hitchcock’s footsteps and provide Lorre with humorous character parts than discover stories to suit his powerful genius, his overpowering sense of spiritual corruption. He is an actor of great profundity in a superficial art. - Graham Greene writing in 1936

He was a delight to work with and a joy to have as a friend, as he possessed a rare talent for gaiety. There was not a pompous or even solemn bone in his body. - John Huston

Peter was a very cultured man, a very sensitive person, a very loveable man, and with a great sense of humour. - Robert Mamoulian.

He was a remarkable innovator…a man who built his part with little tricks that were almost indiscernible, with his eyes, his face, with his body, and with a little look at the right time, a little shrug of the shoulder. Each of these built a character and built up a love in the director for that person who’s thinking of things that he should be thinking of. - Frank Capra

I am less complicated than anyone I know. My interest and instincts, I am afraid, are strictly normal, but I have always had, even as a child, a fantastical absorption into getting into people’s character - in trying to unmask them and their motives. This, I suppose is what has interested me so much in playing pathological roles, but has not, I want to say emphatically, circumscribed my ambitions, for I want to play all kinds of parts. I don’t care whether it is tragedy or comedy if it is authentic portrayal of life. - Peter Lorre

ninetythieves:

Happy Birthday, Peter Lorre! (26 June 1904 - 23 March 1964)

“I need the hum of the cameras and the illumination of the spotlight. I will make films until I die.”

"I believe that somewhere within his soul everyone is an actor. Instinctively, we prefer to dream our life away in fantasy rather than to face the hard facts of reality. Dreaming, making a fanciful play out of your life, is so much more pleasant."

rockysds:

Crime and Punishment - Josef von Sternberg - 1935

idlesuperstar:

Cairo’s homosexuality posed one of the biggest obstacles to securing overall approval of the picture. Hammett didn’t mince words in the novel. “This guy is queer,” says Sam Spade’s secretary as she hands him an engraved card bearing his name - Mr Joel Cairo. He speaks in a “high-pitched thin voice,” carries “gaily colored silk handkerchiefs fragrant of chypre,” and walks in “mincing, bobbing steps.” … Hal Wallis realised that American audiences - not to mention the Hays Office - were not ready for a candid look at homosexuality, which traditionally drew laughs and jeers out front. 

After seeing Lorre’s first day’s work, Wallis dashed off a memo to Huston: “Don’t try and get a nancy quality into him, because if you do we will have trouble with the picture.” Huston bent to Breen’s will. In the scene, Effie presents Cairo’s calling card to a bemused Spade, who holds it to his nose.

"Gardenia," says Effie.

"Quick, darling, in with him," replies Spade.

The rest Huston left to Lorre’s subtlety and the viewer’s imagination.

The svelte 137-pound Lorre who stepped before the camera seemed younger, fitter, swifter. More was asked of him and he asked more of himself. The role was the best of its kind to come his way in years and Lorre knew it.

"I’d often shoot a scene with Peter and find it quite satisfactory, nothing more," recalled Huston - 

But then I would see it on the screen in rushes and discover it to be far better than what I had perceived on the set. Some subtlety of expression was seen by the camera and recorded by the microphone that the naked eye and ear did not get. He’d be doing little things that the camera close on him would pick up that standing a few feet away you wouldn’t see. It was underplaying; it was a play that you would see if you were close to him, as a close-up, as a camera is close. Things would flicker there and burn up slightly, like a lamp, and then dim down, and come on again. You’re watching something as if it were in motion.

from The Lost One: A Life of Peter Lorre -Stephen D Youngkin