IMDb > Mad Love (1935)
Mad Love
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Mad Love (1935) More at IMDbPro »

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Overview

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Director:
Writers:
Maurice Renard (from the novel: "Les Mains D'Orlac")
Florence Crewe-Jones (translation and adaptation: novel "The Hands of Orlac")
(more)
Contact:
View company contact information for Mad Love on IMDbPro.
Release Date:
12 July 1935 (USA) See more »
Genre:
Tagline:
A new, a strange, a gifted personality comes to the screen! See more »
Plot:
An insane surgeon's obsession with an actress leads him to replace her husband's hands with the hands of a knife murderer which still have the urge to throw knives. Full summary » | Add synopsis »
Plot Keywords:
NewsDesk:
(34 articles)
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User Reviews:
Freund's directorial masterpiece See more (72 total) »

Cast

  (in credits order) (verified as complete)

Peter Lorre ... Doctor Gogol
Frances Drake ... Yvonne Orlac

Colin Clive ... Stephen Orlac
Ted Healy ... Reagan
Sara Haden ... Marie (as Sarah Haden)
Edward Brophy ... Rollo
Henry Kolker ... Prefect Rosset

Keye Luke ... Dr. Wong
May Beatty ... Françoise
rest of cast listed alphabetically:
George Davis ... Chauffeur (scenes deleted)

Billy Dooley ... Undetermined Role (scenes deleted)
Harold Huber ... Thief (scenes deleted)

Isabel Jewell ... Marianne (scenes deleted)
Leo White ... Undetermined Role (scenes deleted)
Sam Ash ... Detective Arresting Stephen (uncredited)
Hooper Atchley ... Train Conductor (uncredited)
Agostino Borgato ... Stage Doorman (uncredited)
Maurice Brierre ... Taxi Driver (uncredited)
Mike Cantwell ... Man (uncredited)
Julie Carter ... Nurse (uncredited)
Harvey Clark ... Station Master (uncredited)
Cora Sue Collins ... Gogol's Lame Child Patient (uncredited)
Nell Craig ... Suzanne - Nurse (uncredited)
Frank Darien ... Lavin - Waxworks Proprietor (uncredited)
Kay English ... Woman (uncredited)
Alphonse Ethier ... Assistant Prefect (uncredited)
Christian J. Frank ... Detective Escorting Rollo on Train (uncredited)

Billy Gilbert ... Autograph Seeker on Train (uncredited)
Robert Graves ... Detective Escorting Rollo on Train (uncredited)
Roger Gray ... Detective Arresting Stephen (uncredited)
Ramsay Hill ... Actor as 'Duke' (uncredited)
Otto Hoffman ... Blind Man (uncredited)
Robert Emmett Keane ... Raoul - the Drunk (uncredited)
Murray Kinnell ... Charles - Theater Official (uncredited)
Edward Lippy ... Pierre - Henry Orlac's Clerk (uncredited)
Rollo Lloyd ... Varsac - Fingerprint Expert (uncredited)
Marc Loebell ... Actor as 'Prince' (uncredited)
Theodore Lorch ... Actor at Party (uncredited)
Michael Mark ... Execution Official (uncredited)
Mary Jo Mathews ... Woman Outside Theater of Horrors (uncredited)
Edward Norris ... Man Outside Theater of Horrors (uncredited)
Sarah Padden ... Mother of Lame Girl (uncredited)
Earl Pingree ... Detective Interviewing Henry's Clerk (uncredited)
Russ Powell ... Gendarme (uncredited)
Matty Roubert ... Newsboy (uncredited)
Rolfe Sedan ... Traffic Gendarme (uncredited)
Bernard Siegel ... Man (uncredited)
Carl Stockdale ... Actor as 'The Notary' (uncredited)
Charles Trowbridge ... Dr. Marbeau (uncredited)
Jacques Vanaire ... Police Broadcaster (uncredited)
Monte Vandergrift ... Audience Member (uncredited)
Clarence Wilson ... Piano Creditor (uncredited)

Ian Wolfe ... Henry Orlac -, Stephen's Stepfather (uncredited)

Directed by
Karl Freund 
 
Writing credits
Maurice Renard (from the novel: "Les Mains D'Orlac")

Florence Crewe-Jones (translation and adaptation: novel "The Hands of Orlac")

Guy Endore (adaptation)

P.J. Wolfson (screen play) and
John L. Balderston (screen play)

Leon Gordon  contributor to dialogue (uncredited)
Gladys Von Ettinghausen  contributor to dialogue (uncredited)
Leon Wolfson  contributing writer (uncredited)
Edgar Allan Woolf  contributing writer (uncredited)

Produced by
John W. Considine Jr. .... producer
 
Original Music by
Dimitri Tiomkin 
 
Cinematography by
Chester A. Lyons (photographed by) (as Chester Lyons)
Gregg Toland (photographed by)
 
Film Editing by
Hugh Wynn 
 
Art Direction by
Cedric Gibbons 
 
Makeup Department
Norbert A. Myles .... makeup artist (uncredited)
 
Second Unit Director or Assistant Director
Dolph Zimmer .... assistant director (uncredited)
 
Art Department
William A. Horning .... associate art director
Edwin B. Willis .... associate art director
 
Sound Department
Douglas Shearer .... recording director
 
Costume and Wardrobe Department
Dolly Tree .... wardrobe
 
Music Department
Oscar Radin .... musical director
R.H. Bassett .... composer: title music (uncredited)
Paul Marquardt .... orchestrator (uncredited)
Charles Maxwell .... orchestrator (uncredited)
Leonid Raab .... orchestrator (uncredited)
David Snell .... composer: organ music (uncredited)
Jack Virgil .... orchestrator (uncredited)
 
Other crew
John Langan .... dialogue director (uncredited)
 
Crew verified as complete


Production CompaniesDistributors

Additional Details

Also Known As:
Runtime:
68 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Sound System)
Certification:
Finland:(Banned) | USA:Passed (National Board of Review) | USA:Approved (PCA #1034) | USA:TV-PG (TV rating)

Did You Know?

Trivia:
The Hays Office cautioned the studio about showing scenes of the dead, injured or dying after the train wreck. Some countries banned the film altogether, while others cut the scenes of torture, guillotining and strangulation.See more »
Goofs:
Continuity: The wax statue of "Yvonne" is shown with arms straight down through the film, but toward the end, when there is a shot of the real Yvonne facing the wax statue, the statue has it's left arm bent, with hand on hip.See more »
Quotes:
Doctor Gogol:Impossible?
Dr. Wong, Gogol's Assistant:Impossible!
Doctor Gogol:Napoleon said that word is not French.
See more »
Movie Connections:
Soundtrack:
Siegfried IdyllSee more »

FAQ

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17 out of 17 people found the following review useful.
Freund's directorial masterpiece, 23 February 2007

The legendary Karl Freund is definitely better known for his highly innovative work as director of photography, resulting in an extensive career (spanning across 5 decades) of beautiful and pioneering cinematography. With a body of work as impressive as his (ranging from Lang's "Metropolis" to TV's classic "I Love Lucy"), it is understandable that Freund's work as a director gets so easily forgotten. The fact that he only directed 10 films in his career also plays an important factor in this, however, at least 2 of his directorial efforts easily rank among the best horror movies ever made. The first one of the two (incidentally, his first work as a director in America), 1932's "The Mummy" is really the most popular, given that it is also one of the best performances by horror icon Boris Karloff; however, it is in the second one where Freund's talents really shine, making this last movie as a director his final masterpiece.

Loosely based on Maurice Renard's novel, "Les Mains d'Orlac" (literally, "The Hands of Orlac"), "Mad Love" is the story of Dr. Gogol (Peter Lorre), a brilliant surgeon deeply in love with a beautiful theater actress named Yvonne Orlac (Frances Drake). When season ends, Yvonne announces her retirement, and this prompts Gogol to finally meeting her. Unfortunately for Gogol, Yvonne tells him that she is actually married to concert pianist Stephen Orlac (Colin Clive). Saddened, Gogol leaves, but a bizarre turn of events will make him meet Yvonne one more time: Stephen has lost his hands in a terrible train accident and only Gogol's expertise will be able to save him. While he saves Stephen's hands, the operation begins to have serious side-effects, not only in Orlac, but also in Gogol.

While the screenplay was written by P.J. Wolfson, John L. Balderston and the usual assortment of contributing writers, the movie is mostly the work of Guy Endore and Florence Crewe-Jones, who made the adaptation from the French novel. Endore was a regular writer for MGM at the time, and helped to write other MGM's horrors like "Mark of the Vampire", "The Raven" and "The Devil-Doll"; it is his style, mix of Gothic and pulp novel what flows through the movie, although he remains true to the essence of Renard's classic horror novel. Renard is often credited as being the "inventor" of the Mad Scientist archetype, and truly gives a great use to it in his novel; appropriately, "Mad Love" keeps this psychological drama between characters and brings it to life, spending considerable time detailing the characters and their relationships, building up the necessary tension for the grandiose finale.

After directing several melodramas and comedies in a row, "Mad Love" allowed Freund to once again return to his expressionist roots and create a haunting tale of horror and madness in almost the same vein as his earlier classic, "The Mummy". Unlike what would be expected of a cinematographer, Freund dedicates as much attention to the non-visual aspects of the film as he does for the visual imagery, playing with the many different elements that form the bizarre love triangle of the film. The story itself focuses a lot in psychological themes, ranging from neurosis and hysteria, to compulsive obsession and dangerous psychosis; Freund makes great use of this themes across the movie, although it is obvious that he prefers the character of Dr. Gogol to the other protagonists of the film. Like Im-Ho-Tep the mummy, Dr. Gogol is driven by the mad love he feels for a woman, but unlike with the mummy, Freund makes sure to never fully transform Gogol into a monster, making him very human and frighteningly realist.

Peter Lorre's acting is essential for this last element in Gogol's persona, and he delivers one of this most amazing performances in his career. While lesser known than his characters in "M" or in "The Maltese Falcon", Dr. Gogol is certainly an iconic Lorre character that truly showcases Lorre's versatile talent. Frances Drake is surprisingly great, showing great emotion and excellent domain of the scene, giving her best to avoid being overshadowed by Lorre in their scenes together. Colin Clive, who would become famous as Dr. Victor Frankenstein in James Whale's films, delivers a truly effective performance as Orlac, but I found that Freund seems definitely much more interested in Dr. Gogol and his antics than in the pianist's neurosis, leaving few space to Orlac's growing insanity. Still, Clive does a very good performance despite the limited screen time his character receives when compared to Gogol.

It is probably this last point what truly stops this movie from being a classic of horror, as with a runtime of barely 68 minutes, it feels too short and gives the feeling that something was missing (perhaps a few more scenes with Colin Clive) in this psychological thriller. It's not really a big flaw in the end, but I truly was expecting to see the wonderful story being explored a bit more, as personally I felt it somewhat incomplete. On a different business, and as expected in a film by Karl Freund, the cinematography is simply brilliant, Chester A. Lyons and Freund's protegé, Gregg Toland (who would become a legend on his own), are in charge of it and devise one of the most beautifully looking horror of the 30s, easily on par with Freund's job for Universal.

It's a shame that studios were more interested in Freund's work as a cinematographer, because "Mad Love" proves that there he truly had talent as a director too. Who knows what would Freund had directed after this movie, specially considering the great improvements in cinematography he went on devising through his long and successful career. As it is, "Mad Love" is the final statement of a master who simply wasn't allowed to make more films (although who knows, probably he wasn't interested in directing), but it is nice to see him retiring with a top notch masterpiece. 9/10

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