A.K.A. The Hands of Orlac
I knew I was in for a uniquely deranged time when the opening credits abruptly ended with a clenched fist punching through a window.
Mad Love is a bold and perverse little movie, at least by Old Hollywood standards. It's kinda slight overall (coming in at a sparse sixty-eight minutes), and it doesn't quite give itself the time necessary to fully develop every one of its competing plot threads, but it sure is an effective genre piece. The subject matter is fun and pulpy, Peter Lorre really outdoes himself on the creepiness front (especially when you combine those enormous eyes with the eggiest of bald heads), and there are a good seven or eight supporting parts adding to the flavour, including Charlie Chan's son, a reporter straight out of Batman '89, and a somewhat role-reversed Colin Clive.
What really sets this one apart, though, is the strong visual style. Karl Freund brings everything to life through his unique combination of German Expressionist and Universal Horror sensibilities, and Gregg Toland proves that he always knew how to capture dark shadows and creative angles (if you've ever found yourself looking for a link between Metropolis, Dracula, and Citizen Kane, here it is). Everyone's playing at the same heightened level here, and it results in a zany-yet-macabre thrill ride.
Grade: A-
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