{"id":20073,"date":"2020-05-04T20:22:17","date_gmt":"2020-05-05T00:22:17","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=20073"},"modified":"2020-05-08T02:20:41","modified_gmt":"2020-05-08T06:20:41","slug":"the-lost-one-peter-lorres-der-verlorene-1951","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=20073","title":{"rendered":"The Lost One: Peter Lorre&#8217;s Der Verlorene (1951)"},"content":{"rendered":"<p>Back in 2007 I visited Berlin, and during the super-short 36 hours in town I popped into a cinema bookshop in the Sony Center and picked up a trio of DVDs, including <strong><a href=\"http:\/\/kqek.com\/mobile\/?p=20072\">Der Verlorene<\/a><\/strong><a href=\"http:\/\/kqek.com\/mobile\/?p=20072\"> \/ <strong>The Lost One<\/strong><\/a> (1951), Peter Lorre\u2019s lone film as director. There are obvious parallels with Charles Laughton\u2019s similarly lauded lone directorial venture <strong>Night of the Hunter <\/strong>(1955), but Lorre also co-wrote and starred in his taut drama which hasn\u2019t yet received a needed release in North America, let alone as a proper English subtitled released with important supportive materials.<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" class=\"aligncenter size-full wp-image-20088\" src=\"http:\/\/kqek.com\/mobile\/wp-content\/uploads\/2020\/05\/PeterLorre_still2_s.jpg\" alt=\"\" width=\"350\" height=\"302\" srcset=\"https:\/\/kqek.com\/mobile\/wp-content\/uploads\/2020\/05\/PeterLorre_still2_s.jpg 350w, https:\/\/kqek.com\/mobile\/wp-content\/uploads\/2020\/05\/PeterLorre_still2_s-300x259.jpg 300w\" sizes=\"(max-width: 350px) 100vw, 350px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>Lorre had wanted to direct for some time, and when the opportunity came, it proved a tough assignment as events and circumstances seemed destined to foil his earnest efforts, and when the project was finally completed and screened, although generally well-reviewed by critics, its subject of a bio-chemist with ties to Nazi Germany working under an alias in a postwar refugee camp wasn\u2019t what German audiences wanted.<\/p>\n<p>Arthaus\u2019 excellent 2-disc set traces the project\u2019s long-simmering genesis, with candid interviews by filmmakers and a surviving actress from the original production. It is a film ripe for discovery among Lorre\u2019s legion of fans, especially on Blu-ray, where the moody cinematography would benefit from the boost in resolution and detail.<\/p>\n<p>From the old site archives, I\u2019ve ported over <a href=\"http:\/\/kqek.com\/mobile\/?p=20079\"><strong>Der Totmacher<\/strong> \/ <strong>The Deathmaker<\/strong><\/a> (1995), Romuald Karmakar\u2019s gripping crime docu-drama because the filmmaker appears in one of the bonus DVDs, and there\u2019s a specific moment in <strong>Der Verlorene<\/strong> when fans of Karmakar\u2019s work will make their own connection between the 1995 and 1951 films.<\/p>\n<p><em>Coming next:<\/em> a pair of action-busting Raquel Welch westerns \u2013 the breezy but fun <strong>100 Rifles<\/strong> (1969) from KINO Lorber, and the underrated <strong>Bandolero!<\/strong> (1969) from Twilight Time.<\/p>\n<p>Thanks for reading,<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Mark R. Hasan<\/strong>, Editor<br \/>\n<strong>KQEK.com<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Review of Peter Lorre&#8217;s lone film as director &#8211; the grim &#038; gripping DER VERLORENE \/ THE LOST ONE (1951), from Germany&#8217;s Arthaus.<\/p>\n","protected":false},"author":1,"featured_media":20074,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[6],"tags":[6425,6426,6427,2562,2563,6428,6237,6422],"jetpack_featured_media_url":"https:\/\/kqek.com\/mobile\/wp-content\/uploads\/2020\/05\/DerVerlorene_featured.jpg","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-5dL","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/20073"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=20073"}],"version-history":[{"count":4,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/20073\/revisions"}],"predecessor-version":[{"id":20093,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/20073\/revisions\/20093"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/media\/20074"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=20073"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=20073"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=20073"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}