Spikeopath
The Face Behind The Mask is directed by Robert Florey and collectively written by Paul Jarrico, Arthur Levinson and Allen Vincent. It stars Peter Lorre, Evelyn Keyes, Don Beddoe and George E. Stone. Music is by Sidney Cutner and cinematography by Franz Planer.Hungarian immigrant Janos Szaby (Lorre) arrives in New York City full of hope for the future. Unfortunately he is trapped in a hotel fire which leaves his face severely disfigured. Even though he is a skilled craftsman he is refused employment by many on account of his looks. At his lowest ebb he turns to crime to fund the making of a face mask to hide his disfigurement, while soon enough he is running a little league crime outfit when he happens upon blind Helen Williams (Keyes) and finds a new meaning to life…The sands of time plays the death rattle.Lorre dismissed it as a bit of guff, but The Face Behind The Mask showcases one of his greatest performances. It's a film that beats a black heart, where fatalism is dripped over proceedings, the core of the narrative is the shattering of the American dream, and the makers here are not shy to put forward an uncaring society. After a breezy beginning the narrative becomes relentlessly bleak, right up to, and including, a no holds barred chilling finale that's preceded by a monstrous twist.Florey (also doing some of his best work) and Planer add stark imagery and scene setting that belies the B budget and quick turnover of the production (less than two weeks). A bleak harbour sequence is tonally adroit, the face mask surgery with faces adorning the walls is deliciously macabre, there's torture, too, and oblique backgrounds and shadow play. The dialogue may sometimes be too weak for the haunting story, but the film rises above it because of skills of the cast (Stone and Keyes excellent support for Lorre) and makers alike. Part noir, part horror and part social drama, it's a film of differing attributes. It's not one for anyone looking to be cheered up, but for those who like to lurk in the shadows and succumb to the dark underbelly of cinema; this is a treat. 8/10
Michael_Elliott
Face Behind the Mask, The (1941) *** (out of 4) Peter Lorre's excellent performance highlights this entertaining, if predictable, melodrama from Columbia and director Florey. In the film Lorre plays Janos Szabo, a immigrant who comes to America to earn enough money to bring the woman he loves over so that they can be married. Soon after his arrival his face is horrible disfigured in a hotel fire and he gets to see the ugly side of the country because no one will give him a job or even look at him. He eventually meets a friend (George E. Stone) who talks him into a life of crime so that he can raise enough money to get a new face but soon he meets a blind woman (Evelyn Keyes) who might make him think differently. There's a lot of plot going on in this film but there's no denying that Lorre gives an incredible performance and it makes this thing worth viewing no matter how predictable the screenplay is. There's really nothing here that will come out of left field as we get Lorre's character built up as such a great guy and then we get the accident and then we get the crime and of course he'd just happen to meet a blind girl, which itself turns into a couple more predictable moments. One doesn't mind this as the film does have some very good moments including the actual fire sequence as well as the aftermath when Lorre finally sees his new face. As for Lorre, there's no question this here is one of his strongest performances as we believe him as the good guy getting off the ship and we can also believe him and the anger of what has happened to him. I think the film would have benefited from his bad side behind a lot darker than the film allows but I'm sure this was watered down so that the romance side of things could flourish. Keyes is also very good in his role as the blind girl and Stone, best known for his Boston Blackie films, is very good as well. Don Beddoe adds nice support as the cop who helps Lorre and James Seay is nice as the rival. Florey's direction is very good throughout and especially during some of the darker moments right after the accident. The director does a pretty good job at handling the various aspects of this film and pulls everything together well enough to keep the film going. This is a good film but not a classic one. I think with a little tinkering of the script we could have had something even better but as is, it's great to see Lorre in a role he can do so much with.
briantaves
THE FACE BEHIND THE MASK, while generally regarded as a horror film, is not a pure example of the genre, and that is the very crux of its interest. Rather, it addresses topics outside the expected parameters of horror, and in offering an uncompromising view of human anguish, THE FACE BEHIND THE MASK is a truly unusual picture in both content and treatment. THE FACE BEHIND THE MASK relates how a hopeful new immigrant, Janos Szaby (Peter Lorre), arriving in New York City, is trapped in a hotel fire that leaves his face hideously scarred. Ostracized and refused employment although still able to work, the only way he can survive is by turning to theft. Hence, THE FACE BEHIND THE MASK is also a social consciousness film, detailing the position of the outcast and particularly the handicapped in society, along with crime and its causes, and the American immigrant milieu. All of these themes are treated with sympathy and taste, avoiding the gruesome potential of the premise. The only people who are kind to Janos are a tubercular small-time thief, Dinky (George E. Stone) and a blind woman, Helen (Evelyn Keyes). Janos falls in love with Helen as her soul sees the goodness within him, but the gang refuses to let Janos quit the rackets and kills her. This leads to a memorable denouement where Janos has suicidal revenge by flying the gang to the desert and marooning them all amid the sandy wastes, where he can watch their dying torment. The actual screenwriter of THE FACE BEHIND THE MASK gives a clue as to its intent: although the writing credit on screen was given to two men, Allen Vincent and Paul Jarrico (from a story by Arthur Levinson, based on a radio play by Thomas Edward O'Connell) the scripts indicate the picture was in fact written by Irmegard Von Cube, who explored similar themes in JOHNNY BELINDA (1948). Appropriately, the style also deemphasizes the horror elements, with a naturalized version of director Robert Florey's expressionistic tendencies, as in the waterfront scene when Janos and Dinky first meet. The abstract acting required by the mask, together with Lorre's costume, themselves become expressionistic devices. Moments of high tension are appropriately punctuated by director Florey's typical angled shots, as when Janos first sees his face after the bandages are removed, or when he tries to rescue Helen from the gang's car bomb. THE FACE BEHIND THE MASK was dependent on a strong and capable performance in the lead, and Lorre proved ideal in one of his best roles. He not only had to portray a man disintegrating under a terrible fate, but also had to exercise incredible control over his facial muscles, allowing him to only express emotion through his eyes in close-ups. Lorre simulated a mask where there was none, and the effect is achieved by white powder and two pieces of tape placed on his face, contrasted with his costume of black jacket and scarf, and enhanced through lighting. This was all the more remarkable in that Lorre was uncomfortable with the fast schedule and began his drinking with a straight Pernod for breakfast, so that by the afternoon he had became undirectable. As a result, Florey had to try and juggle the schedule so as to get all of the star's primary scenes in the morning. In the supporting roles, Stone and Keyes were equally memorable, as were the character actors in the remaining roles, together demonstrating the possibilities for fine acting despite the pressures of a two week shooting schedule. This was the fourth time Florey had dealt with an unusual theme, the effect of facial mutilation on men's lives, also depicted in his FACE VALUE (1927), THE FLORENTINE DAGGER (1935), THE PREVIEW MURDER MYSTERY (1935), and later in his television episode ALFRED HITCHCOCK PRESENTS: WHERE BEAUTY LIES (1961). Florey was engaged by Columbia in late 1940 on a deal for three so-called "action pictures," movies made on low budgets in twelve days. The first two, THE FACE BEHIND THE MASK and MEET BOSTON BLACKIE (first in the series), took two months to prepare--Florey was able to revise the script of THE FACE BEHIND THE MASK and write the continuity--and were shot back-to-back. Such a hasty schedule was especially difficult for a picture that required extensive location shooting. The cameraman was the talented Franz Planer, lately arrived from Germany, and still unaccustomed to working at the Hollywood pace, requiring that many shots be sacrificed because of the time lost in lighting. Today, Florey is best remembered for his other work in the horror genre, including coauthoring the script of the original FRANKENSTEIN (1931), writing and directing MURDERS IN THE RUE MORGUE (1932), and directing a later Peter Lorre classic, THE BEAST WITH FIVE FINGERS (1946). Florey was a key figure in adapting the German expressionism and other European styles into Hollywood film-making before the cycle of film noir, and THE FACE BEHIND THE MASK reflects an ideal mid-point, both using such techniques but also adjusting them to the needs of a genre-driven industry. Despite its modest origins, THE FACE BEHIND THE MASK is widely acknowledged to be among the greatest "B" films ever made, and one of the few to offer profundity and depth in theme and characterization, as well as artistry in its writing, direction, and acting. While containing elements of several genres--horror, social consciousness, gangster, and romance--the film transcends all of them. THE FACE BEHIND THE MASK won favor from both critics and audiences, and a small following in its time that has grown in the intervening years, an exceptional record of success for a movie made so inexpensively. The film remained in continuous showing for two years after it was released in 1941, and was later theatrically reissued on numerous occasions, as late as 1955, before it began to be shown on television.
