One would believe that the end of World War II means release for Dr. Karl Rothe (Peter Lorre). Under the Nazi regime he used to be a serologist. His fiancée Inge (Renate Mannhardt) spied on his scientific results and told them to the government. When Rothe found out, he killed her in affect. However, the Nazis protected him, because he was very useful. His assistant Hösch (Karl John) covers him after investigations have been started and saves him from the gallows. But Rothe is slowly eaten up by his feelings of guilt. So, for him personally, the end of the war does not mean much. He changes his name in Dr. Neumeister and finds work in a camp for emigrants. He drinks heavily. Soon, an assistant is assigned to him, a certain Nowack which turns out to be Neumeister's former collaborator Hösch. Neumeister is very wrong in assuming that he has finally found the right person to talk over his difficult psychological situation. Nowack has no feelings of guilt and no understanding at all for Neumeister. In a moment of affect, Neumeister kills Nowack and leaves the camp.
Many reviewers have found that "Der Verlorene"/"The Lost One" (1951), the only film that Peter Lorre directed, is a masterpiece in the legion of movies about World War II. The movie is very special since he does not only show the bombed cities, but also the ruined souls. Lorre-biographer Stephen D. Youngkin has even seen strong autobiographic traces in Lorre's life. It seems as if the way from Dr. Rothe to Dr. Neumeister is a series of transits: First the transit of the war (there will be an end, but when?). Second, the transit of post-war: The allies control Germany (there will be an end with searching for Nazi criminals, but when?). And third, the isolation of someone who is incapable of excusing his own deed, although it was committed during the Nazi time and therefore under circumstances that others use as excuses. Therefore, for Dr. Neumeister, there is no light at the end of the transit-corridor of his life. Nevertheless, he prefers meeting a train-engine al fresco instead of killing himself with the same weapon by which he killed Nowack in the camp some half hour ago. When we see, at the end of the film, Lorre-Neumeister walking slowly towards the approaching train, even throwing his cigarette away at the right moment, we must realize that it is impossible to emigrate from ourselves.
Many reviewers have found that "Der Verlorene"/"The Lost One" (1951), the only film that Peter Lorre directed, is a masterpiece in the legion of movies about World War II. The movie is very special since he does not only show the bombed cities, but also the ruined souls. Lorre-biographer Stephen D. Youngkin has even seen strong autobiographic traces in Lorre's life. It seems as if the way from Dr. Rothe to Dr. Neumeister is a series of transits: First the transit of the war (there will be an end, but when?). Second, the transit of post-war: The allies control Germany (there will be an end with searching for Nazi criminals, but when?). And third, the isolation of someone who is incapable of excusing his own deed, although it was committed during the Nazi time and therefore under circumstances that others use as excuses. Therefore, for Dr. Neumeister, there is no light at the end of the transit-corridor of his life. Nevertheless, he prefers meeting a train-engine al fresco instead of killing himself with the same weapon by which he killed Nowack in the camp some half hour ago. When we see, at the end of the film, Lorre-Neumeister walking slowly towards the approaching train, even throwing his cigarette away at the right moment, we must realize that it is impossible to emigrate from ourselves.