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The Lodger

Starring: Alfred Hitchcock, Marie Ault Director: Alfred Hitchcock

5.0 out of 5 stars See all reviews (2 customer reviews)

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	54% buy the item featured on this page: The Lodger 5.0 out of 5 stars (2) CDN$ 16.99
	18% buy The Paradine Case 4.1 out of 5 stars (11) CDN$ 14.99
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Product Details

Actors: Alfred Hitchcock, Marie Ault, Arthur Chesney, June, Malcolm Keen
Directors: Alfred Hitchcock
Format: Black & White, NTSC
Language: English
Aspect Ratio: 1.33:1
Studio: MGM
DVD Release Date: Feb 10 2009

Average Customer Review: 5.0 out of 5 stars See all reviews (2 customer reviews)

ASIN: B001JV5BIU

Amazon.ca Sales Rank: #22,878 in DVD (See Bestsellers in DVD)

Popular in these categories:

#10 in	DVD > Horror > Horror Masters > Alfred Hitchcock
#96 in	DVD > Art House & International > British Cinema > Mystery & Suspense
#97 in	DVD > Art House & International > European Cinema > United Kingdom > Mystery & Suspense

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Product Description

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Although Alfred Hitchcock had made two movies before The Lodger, he told François Truffaut that this was his first true film. And indeed, The Lodger contains elements that would appear again and again in the Master's later, more famous creations. It boasts the first of the famous "wrong man" plots and contains the first sequence in which handcuffs play a significant role. If your eye is quick, you'll also catch the first of Hitchcock's famous cameo appearances (he actually appears on-screen more than once).

The Lodger is also one of the first memorable pictures about the hunt for a serial killer. Terrified women and strange masked men walk the streets of London in a movie whose visual style was influenced by the German expressionists. In one tense sequence, the ceiling of a room becomes transparent and a character can be seen pacing back and forth on the floor above. The climactic chase is one of the most exciting Hitchcock ever filmed. This taut early film is a fine introduction to the silent cinema as well as to one of the world's greatest and most entertaining filmmakers. --Raphael Shargel

Review

Described by Alfred Hitchcock himself as the "first true Hitchcock film," The Lodger is a suspenseful Jack-the-Ripper tale that features one of the master's most familiar themes: an innocent man who is blamed for a crime. In the case of this 1926 silent about a killer who targets blondes, that man is a mysterious lodger in a London apartment house played by British screen star Ivor Novello. The actor does a terrific job of casting suspicion on himself by alternating between being sinister and sincere. The plot is similar to that of 1941's Suspicion, but unlike the weak ending of that Hitchcock classic, The Lodger's conclusion is stunning: Novello being chased across town by an angry lynch mob that believes he is the killer. In only his third film, Hitchcock's creative style and willingness to innovate are already apparent. The story is carried entirely by its images, with only a minimal number of title cards used for dialogue. The director shot the opening scene as a combination of images that set up the entire plot and convey the terror of the situation, all with only a few words. In another chilling scene that shows the fright of the building's owners as they see a chandelier shaking, Hitchcock used a see-through Plexiglas ceiling to show that the movement is caused by the lodger, who nervously paces above them. The Lodger marked the first of Hitchcock's famed onscreen appearances, due to the fact that he was needed as an extra. He is seen in two spots, first as a man in a mailroom during the opening sequence, then again at the end as an onlooker to the mob scene. ~ Patrick Legare, All Movie Guide

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5.0 out of 5 stars A fascinating silent film directed by Alfred Hitchcock, Jun 19 2006

By	Daniel Jolley "darkgenius" (Shelby, North Carolina USA) - See all my reviews (TOP 50 REVIEWER) (REAL NAME)

This review is from: The Lodger (VHS Tape)

I am a relative newcomer to silent films, so I can not pontificate on all of the nuances and wonderful subtleties The Lodger surely showcases. I can say that I enjoyed this film very much; the story retained its vigor throughout, and some of my preconceived notions regarding the conclusion were proven quite wrong. The Lodger bears the unmistakable influence of the Jack the Ripper murders. A number of fair-haired young ladies have been murdered on successive Tuesday nights in London, and the police basically have no clue as to the killer's identity. On the heels of the sixth murder, a stranger comes seeking a room at the lodging house of an elderly couple. The woman is put ill at ease immediately, and who could blame her? The mysterious lodger makes his appearance standing at the door with a scarf covering the lower part of his face, looking amazingly just like Bela Lugosi would look several years later when he made his grand entrance in Dracula. He's a little strange, taking down all the pictures of fair-haired girls in his room, but the kindly old woman's suspicions are raised significantly when she witnesses her strange boarder sneaking out for a half hour on the next Tuesday night, returning just after a fresh murder had been committed down the street. The couple worries about their daughter Daisy, who has taken a definite shine to the strange young man (to the chagrin of her traditional suitor, who happens to be a detective assigned to the serial killer hunt). Determined to keep Daisy away from possible danger, her parents nevertheless manage to let her go out with the lodger the next Tuesday night, and this serves as the setup for the culminating scenes wherein Daisy's long-time suitor/detective accuses the stranger of being the wanted serial killer known as The Avenger.

It is something of a strange experience to watch a silent movie. I always wonder what the actors are actually saying; they talk up a storm, yet we are shown only scattered fragments of their conversations. The actors all play their roles to great excess, seemingly overemphasizing their expressions to help make up for the lack of actual dialogue. Sometimes their faces are completely bleached out as the quality of the picture varies. Frankly, I had not even thought about Alfred Hitchcock having made silent movies early in his career, but The Lodger, his third silent film (although Hitchcock essentially chose not to count the first two), displays the genius Hitchcock would become famous for. There are several scenes that seemed quite impressive for a film made in 1926: early on, there is an interesting montage of faces blending from one to another; in one scene, the camera pans up and we see the ceiling disappear to show us the pacing strides of the lodger up above; and toward the end we witness a series of images pan across the ground as a character looks down in deep thought.

I was quite impressed by The Lodger. The basic story is clearly delineated despite the lack of dialogue, the direction is masterful, and the ending is in no way anticlimactic. I admit I sometimes found myself making up dialogue for the actors and actresses, but by the midway point I was so absorbed in the story that I forgot about it being a silent movie and just sat back and let myself become absorbed in the growing drama. If you are going to watch a silent movie, Hitchcock's The Lodger is more than worthy of your consideration.

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5.0 out of 5 stars Obesssion: The true plot of The Lodger, Jul 20 2004

By	Tom Mooney (Kingston, Pa.) - See all my reviews

This review is from: The Lodger (VHS Tape)

Hitchcock's ``The Lodger'' is a marvelous study in the obsessive behavior that lies latent in all of us, and sometimes boils up to the surface with disastrous results. The killer himself (note the nickname and the triangles) is clearly obsessed by something, though we never learn completely what. The lodger himself, the first victim's brother, is so dead-set on ``avenging'' his sister that he becomes a parody of the killer. The detective loses control of himself when his desire to catch the killer blends in with his anger over losing his girl to the lodger. And the crowd at the end - good people, but turned into ravenous wolves by their lust for the killer's blood as the lodger dangles Christlike between life and death. All in all, it's a profound, disturbing and thought-provoking film.

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