A loose remake of the German silent horror classic The Hands of Orlac (1924) directed by the star photographer of German expressionism, Karl Freund. So it is a visually artistic film. Cinematographer Gregg Toland paints with light most eloquently and there are evocative sets of the back alleys of the Parisian Grand Guignol.
The plot is one of the most brilliantly lurid in all horror. A concert pianist (Colin Clive as Orlac) is badly injured in a train crash and his hands crushed. His beautiful wife, Yvonne, (Frances Drake), goes to a celebrated surgeon, the sinister Dr. Gogol (Peter Lorre) who has been stalking her, and begs him to save her husband's precious hands. Gogol transplants the hands of a recently guillotined, knife-throwing murderer, Rollo! Orlac finds he can no longer play the piano but can't stop chucking blades...
Gogol is sent (more) insane by Yvonne's continued rejection of him so he frames the distraught pianist for murder. Posing as Rollo, in a head brace, with metal gauntlets he claims that when Gogol removed his hands he stitched back his head! This vision of the bald, baby faced, big eyed Lorre in his fetishistic leather neck support and robot hands is one of the great grotesque horror images.
Mad Love is an excellent mad doctor film and an early example of the dark hospital theme, which finds within its gleaming white sterility, suffering, transgressive behaviour and unbridled egotism. Lorre is memorably repellant. Horror was about to go into remission for a few years under the influence of the the Hays Office. Many films were shelved for decades. Mad Love is the last classic of Hollywood horror's early thirties golden age.