Product description

The Lodger - A Story Of The London Fog [1927]

Price: £45.00
RRP: £15.99
Average customer rating: 4.0

Binding : VHS Tape
EAN : 5024165869642
Label : Bfi Video
Manufacturer : Bfi Video
Publisher : Bfi Video
Release date : 1999-12-06
Title : The Lodger - A Story Of The London Fog [1927]
Actor : Ivor Novello
Audience rating : Parental Guidance
Format : Array
Languages : Array
Number of items : 1
Original release date : 1927-02-14
Running time : 113
Studio : Bfi Video
Theatrical releaseDate : 1926
Number of discs : 1

Editorial reviews

Amazon.co.uk Review
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 will 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

Customer reviews

review by: darkgenius date: 2003-02-28 rating:

A fascinating silent film directed by Alfred Hitchcock
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.

review by: date: 2001-10-11 rating:

Silent Hitchcock
Although the style appeared to be quite chilling, I was not convinced by the depth of character of the lodger to take him seriously. He appeared very wooden, Victorian and somewhat stagey in the vein of a serious pantomime. The film does demonstrate some of Hitchcock's early style of shocking audiences, but it is not a film that stands the test of time.

review by: date: 2000-11-19 rating:

Alfred Hitchcocks' "The Lodger" (1925)
This third film of Alfred Hitchcock's was his first thriller. This inspired account of a Jack-the-Ripper-style murderer named "The Avenger", who kills blond-haired women on Tuesday nights in London, shows a young and creative directorial talent at work.

Hitchcock worked from his own scenario of star Ivor Novello's stage play for this initial foray into what would later be familiar Hitchcock territory. Novello portrays a strange and aloof lodger, who stays in a room above a lower-middle-class family. In the evening streets of London, the Avenger's victims are being found closer and closer to the lodging houses. Eventually the landlords, and their daughter's police detective suitor, come to suspect that the mysterious lodger has unholy designs on their beautiful blond daughter. Can their suspicions be confirmed before it is too late?

Throughout the film there are examples of visual inspiration in shots of a restless lodger in the room above pacing back and forth as seen, through the floor (as if eyes could read what ears are unable to hear in silent films), by the landlady below, or in the desperate lodger suspended only by handcuffs on a spiked metal fence. The Lodger is an early treat for fans of Hitchcock's distinctive storytelling technique. We dare say that this film is his most entertaining and flashy narrative until 1929's Blackmail. And, for those wondering, Hitchcock makes the first of his on-screen appearances, with Hitchcock sitting with his back to the camera in an early newspaper office sequence and as a flat-grey-hat wearing crowd member in the climax.

review by: Nettlewine date: 2000-11-19 rating:
The first "Hitchcock" film?
If you're looking for a way in to early Hitchcock then The Lodger is a good a place to start. It is the first suspense flick Hitch turned his attentions to, and his talent for the genre shines through immediately.

The story is derived from the Jack The Ripper tale, and remember, the 1926 London shown in this movie is not so different from the city that suffered the ravages of the Ripper. The atmosphere throughout is genuinely eerie and seedy -- a good historical document!

Ivor Novello is a suitably creepy, and his slightly hammy performance brings home the Expressionist nature of silent film. He plays the lodger Jonathan Drew, a tortured soul who is showing an unhealthy interest in the recent spate of blonde-girl murders. What is worse, the blonde daughter of his landlady is showing an unhealthy interest in him, oblivious to his oddities.

But is he the murderer? Well, why else would he carry a case with a map of all the killings?

Directed with Hitchcock's blend of clinical care and a dash of lusty voyeurism, this is an easy chime with 1960's Psycho. Check out the house layout: it's the same!

For all you trivia buffs, this film also Hitch's first cameo - spot the youngster if you can.

Excellent early Hitch -- but don't overlook his other non-suspense silents. This was a director plying his trade in all genres.

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