The idea that a possession or even more creepily a body part of a dead person can take over the life of its living owner has appeared in fairy tales and ghost stories for centuries. In cinema, the touchstone story of this sort is Maurice Renard’s 1920 novel Les Mains d’Orlac, which has been adapted to the screen many times, including in both films I am recommending this week as part of our scary Halloween month tradition here at RBC: The 1924 Austrian and 1935 US version of The Hands of Orlac (The latter is sometimes titled Mad Love).
The story concerns gifted pianist and composer Paul Orlac, whose hands are severely damaged in an accident. He survives his injuries, but his hands are replaced with those of a recently executed murderer by a talented surgeon. As Orlac and his devoted lady love Yvonne attempt to put their lives back together, the murders start again, and Orlac begins to suspect that his new hands are driving him to commit horrible crimes.
The 1924 version is a silent film directed by Robert Wiene and starring Conrad Veidt, who will be familiar as principals of the all-time cinema classic Cabinet of Dr. Caligari, which I recommended four years ago this week. Like that famous film, the Hands of Orlac is skillfully made in the expressionist style and is anchored by striking visuals and Veidt’s ability to movingly convey emotion without dialogue. The film was recently restored with a newly composed soundtrack and became deservedly popular on the classic film festival circuit:
The 1935 version is a talkie that changes the story substantially in an effective way. Here, the doctor is the central character and is driven by his lust for Orlac’s wife rather than any desire to help the composer. This was Peter Lorre’s first American film and he’s magnetic as a villain who is loathsome in some ways and pitiable in others. I like this version even better than the original because of Lorre’s strong performance, director Karl Freund’s visual sensibilities and the somewhat tighter pacing than the original.
Here is a short promotional film made for the US release of the 1935 version. It’s more than a traditional trailer because while Lorre was a big star in Germany (See Johann’s recommendation of Fritz Lang’s M), Hollywood had to introduce him to American audiences.