Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

Popular B-Movie and a Cult item because it was Directed by the Always Interesting and Creative Robert Florey and Starred icon Peter Lorre. Both the Actor and Director are at Their Best here Despite Lorre's Tantrums about the Script. He unwittingly Created a Great Character in a Low-Budget Film that is Beloved and among His Best.The Skimpy Budget and Shooting Schedule would Not Allow the Plot to be Developed and some of the Story may seem Contrived and Forced but Overall it is Gripping Movie making with a Good Supporting Cast including Evelyn Keyes as a Blind Innocent and George E. Stone as Lorre's sympathetic Friend.It's Touching when it Needs to be and Horrific at times. The Film is One of those Lesser Efforts that Emerges Beyond its Limitations and manages to be Amazing in its Striking Simplicity. The Ending is Tragic and goes Against the usual Early WWII Optimism. This should at least be Considered a Forerunner to Film-Noir because of its Powerful Imagery and Downbeat, Gut-Wrenching Story.

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.

I can only figure that only Peter Lorre could star in a film, and for over half of it, have his back to the camera. As others have said, it's a nice noir-y film, but like a lot of those, it's hard to see it as more than just a sequence of events instead of a well-told story/film. Nonetheless, the acting and filmmaking all around is very well done.

Saw this at a special showing. Great performance from Peter Lorrie as a sweet immigrant who turns to a life of crime after his face is disfigured in a fire. Director Robert Flory uses a variety of wild film techniques to tell this colorful story. A shame it is not available on video.