Between scenes on You're in the Army Now (1941) at the Warners studio, Jimmy Durante seranades the cast of All Through the Night on the set of "Marty Callahan's (Barton MacLane) nightclub". Left to right are Kaaren Verne, Humphrey Bogart, Peter Lorre, and William Demarest.

Peter Lorre, Karen Verne and Judith Anderson take a break while filming All Through the Night (1942). During the making of The Maltese Falcon, Lorre used to exit Mary Astor’s dressing room zipping up his fly. When he pulled the same trick on Anderson, she chased him with a hairbrush.

Peter Lorre shows actress Priscilla Lane some of his "villain moves" during her visit to the set of All Through the Night (1942). Lorre and Lane would soon be working together on Arsenic and Old Lace – Lane in the female lead and Lorre as a menace. A "Thank You!" to Barbara Morris for helping us identify the actress.

George Tobias joins the principals of Arsenic and Old Lace (1944) – Raymond Massey, director Frank Capra, Peter Lorre, and Cary Grant – during a lunch break in the Warner Bros. commissary, fall of 1941.

The cast of Arsenic and Old Lace (1944) poses with their director for a photo on the "cemetery" set, just outside the infamous Brewster mansion. Left to right: John Ridgely, Vaughan Glaser, Peter Lorre, Jean Adair, John Alexander, Josephine Hull, Cary Grant, director Frank Capra, Priscilla Lane, Raymond Massey, James Gleason, Edward Everett Horton, Jack Carson, Edward McNamara, and Garry Owen. Each member of the cast was given an 11x14 print of the photo. This is Lorre's personal copy.

Peter Lorre enthusiastically tells Paul Lukas a story during lunch in the Warner Bros. commissary. Peter was filming Passage to Marseille (1944), while Lukas was working on Uncertain Glory (1944). According to the Chicago Daily Tribune ("Prize Movie Art", 1/16/1944), this particular still won "Best Candid Shot" at the Academy of Motion Picture Arts and Sciences' third annual still photography show.

In costume and on the set of The Mask of Dimtrios (Warners, 1944), Peter Lorre and George Tobias go over a scene later cut from the final print. Tobias played "Fedor Muishkin", who translates Abdul Dhris' murder trial testimony from Greek to English for mystery writer Cornelius Leyden (Lorre).

Lorre and actor John Garfield lunch together on the Warner lot. According to the photo blurb, Garfield, obviously hamming it up for the camera, shows Lorre how he’d play the villain. At the time, Garfield was appearing in This Love of Ours. Lorre had just finished Three Strangers. April, 1945.

Merry Christmas from Peter and Sydney! In one of several photos publicizing the release of Hollywood Canteen (Warner Bros.) on December 30, 1944, "Screen menace man Peter Lorre goes along with a gag to prove you can take men out of menace but you just can't take menace out of men while star Sydney Greenstreet sits in for Santa."

Another in a series of publicity stills with Peter Lorre and Sydney Greenstreet (as Santa) for Hollywood Canteen (Warners, 1944). Although released at Christmas-time, the film does not have a holiday theme. A G.I. (Robert Hutton), on leave in Los Angeles, visits the famed Hollywood Canteen and meets many performers of stage and screen. In their brief scene – which they wrote themselves – Peter and Sydney help singer Patty Andrews escape from a determined but hopeless dance partner (Irish-American actor James Flavin). From the collection of Cheryl Morris.

Lorre and actor Victor Francen share a table at the Warner Bros. studio commissary. Lorre and Francen appeared in five films together: Passage to Marseille (1944), The Mask of Dimitrios (1944), The Conspirators (1944), Confidential Agent (1945), and The Beast with Five Fingers (1946). Peter stressed their friendship with his antics during the making of The Beast with Five Fingers, his last at the studio.

Script in hand, an animated Peter Lorre talks with director Peter Godfrey and author Vicki Baum, whose novel Hotel Berlin ‘43 formed the basis for Hotel Berlin (1945). The actor is possibly pointing out continuity problems created by reducing his role.

Peter Lorre sits on director Don Siegel's knee during a script conference with Siegel and Sydney Greenstreet on The Verdict (Warners, 1946). However much Lorre enjoyed teasing his British trained acting partner (they appeared in nine films together), he felt that “Greenstreet was not only one of the nicest men and gentlemen that I’ve ever known in my life, I think he was one of the truly great, great actors of our time.”

Peter Lorre, Sydney Greenstreet, and director Don Siegel confer on The Verdict (Warners, 1946). To cover back lot sets that did not fit the film's Victorian period, dry ice fumes, burning cans of charcoal and vaporizing mineral oil were used to create London fog. The artificial atmosphere played havoc with Lorre's health, resulting in severe headaches and hay fever, and forcing him to return to narcotic drugs to cope with his "very great pain and misery."