CommentsXp Best movie ever!

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Stephan Hammond It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

Scarlet The film never slows down or bores, plunging from one harrowing sequence to the next.

JohnHowardReid Not copyrighted in the U.S.A. where it was released by Amer-Anglo Corp. in 1928. U.K. release through W&F Film Service in September 1926. Original running time: approx. 100 minutes. SYNOPSIS: A new lodger acts suspiciously. Is it possible he's a Jack-the-Ripper killer?NOTES: Re-made, again with Novello in the lead, by director Maurice Elvey in 1932. Titled The Phantom Fiend in the U.S. Other re-makes: 1944 (John Brahm directing Laird Cregar); 1953 (Jack Palance directed by Hugo Fregonese, titled Man in the Attic); 2008 (Shane West directed by David Ondaatje). COMMENT: Although it no longer seems as innovative as when first released and although tension is somewhat undermined by the obvious fact that Ivor Novello could not possibly turn out to be the killer (even though the script most disappointingly presents no alternatives), The Lodger still packs enough ambiance and atmosphere to hold a modern audience's attention, especially in its original tinted version. Novello's "acting" is more "posing" than performing, and the other players are sometimes a mite too enthusiastic in their pantomiming, but these styles are pretty much par for 1926. Aside from the lavishly staged climax, production values are by no means over-extensive. (AVAILABLE on DVD in St Clair Vision's Hitchcock Collection. Quality rating: 7 out of ten).

jacobs-greenwood Directed by Alfred Hitchcock, this silent feature is an early example of the director's skill in creating suspenseful situations while keeping a (spoiler) secret to the end. The cast is small, but it includes Ivor Novello in the title role, a popular matinée idol of the time.The story is very simple: a murderer who dubs himself "The Avenger", leaving a calling card on each of his victims, is killing young, fair haired women throughout London, usually on Tuesday nights. Although (certainly) not shown, nor described in any detail, it's intimated that this criminal does more than kill his victims, ala Jack the Ripper.Daisy Bunting (June Tripp) is a model who lives with her parents, and landlords, played by Marie Ault and Arthur Chesney. Her boyfriend Joe Chandler (Malcolm Keen) is a police detective assigned to the case. The question is whether Jonathan Drew (Novello), the very private man who rents a room from Buntings one dark and stormy (well, at least foggy) night, is "The Avenger".Jonathan Drew shows an interest in the attractive Daisy, but suspicion is cast upon him such that "we" are never quite sure whether it's a natural attraction or something more sinister, until near the end. Daisy returns Jonathan's advances, much to the dismay of her parents and police inspector boyfriend. Mrs. Bunting becomes particularly suspicious when Mr. Drew goes out, and comes back late, on a Tuesday evening when yet another fair haired girl (the eighth?) is murdered. Chandler, happy to have an excuse after being rebuffed by Daisy for Jonathan, comes to investigate and then discovers what he thinks is conclusive evidence of the lodger's guilt.Jonathan explains that the newspaper clippings about the murders he's been saving, and the map he has made of the crime locations, is due to the fact that his sister was one of the victims. Before he can be taken in, he escapes, in handcuffs. Even though the police discover that he's innocent, a violent mob catches up with Jonathan and begins to beat him; however, hanging over a fence by his cuffs, he is rescued before the vigilantes kill the innocent man.

thinbeach On Tuesday nights in foggy London, an at large man named 'Avenger' kills young blonde girls. Daisy, a fashion model who lives in a lodge with her parents, happens to be young and blonde, while a young man who dresses in the fashion of the Avenger, and goes out on Tuesday nights, takes up a room for rent in the building. One of Hitchcock's earliest features, he was already excellent at framing a murder, and Daisy looked pretty well cactus. But of course, no story would be so simple, and the Lodger was so obviously framed from the beginning you knew the twist was coming long before it did. At 90 minutes, that made the film a touch long, but it was also not without some moments of gripping suspense.I'm a sucker for fog on film and the outdoor shots were wonderfully atmospheric, while Hitchcock's gift for turning everyday inanimate objects, such as staircases and chandeliers, into haunts, was second to none. The scarcity of title cards - the ability to use images to progress the story - was to its advantage, and I'd also give credit to Marie Ault and Arthur Chesney, who were excellent as the Landlords. The rest of the cast had their virtues, though as was typical for silents, were a touch melodramatic.So even a young Hitchcock had talent for suspense, and the thematic elements on judgement gave at least some small depth to the thrill ride, albeit thanks to melodramatic turns at the end which were not to my taste. The love story also felt contrived. What did the Lodger do to make Daisy fall for him? And what did the Policeman do to make her turn against? Nothing, they were just cheap narrative devices, and unfortunately, more than once characters made these type of unbelievable decisions, which very conveniently helped build the tension. Of course the parents would leave Daisy on her own, despite their suspicions! Elsewhere some fairly gimmicky ideas are used, such as close ups on a fire-poker and butter knife, as if the Avenger is going to use them for something other than their intended purpose. And let's not forget the (lack of) subtlety in the ever-metaphoric chess game!Still, in the hands of a lesser director I can imagine this being quite forgettable, but Hitchcock managed to turn it into something better. I suppose anyone seeking this out nowadays is either a die-hard Hitchcock fan or a silent film fan, and it should prove enjoyable enough for people in those categories.

Scott LeBrun This memorable silent film is based on the 1913 novel by Marie Belloc Lowndes, which spins a yarn inspired by the Jack the Ripper murders. In Victorian era London, a serial killer dubbing themselves The Avenger, and using a triangle as an emblem, is terrorizing the city. During this time, an intriguing, cagey stranger (Ivor Novello) rents a room from the Buntings (Marie Ault and Arthur Chesney). The Lodger finds himself attracted to their lovely daughter Daisy (June), and she to him, which angers her suitor, a police detective named Joe (Malcolm Keen).Sad eyed romantic screen idol Novello is very well cast in this striking and atmospheric silent film from The Master, Alfred Hitchcock. Hitch had made two previous features, but it was with The Lodger that he really hit his stride as an innovator and craftsman. He employs a number of engaging visual tricks to get the viewers' attention, all while telling a good story. In addition, he creates some genuinely harrowing suspense, and given that shooting in sound was unavailable to him at the time, he instead uses imagery to create a soundtrack of sorts. His film is equal parts sinister, tense, and romantic, and also comedic at times.This viewer watched the full length 100 minute version, which might seem a little draggy for some peoples' tastes, but it wonderfully creates a mood and feel, with some truly standout sequences. The colour tinting on scenes is effective; this viewer also chose the option of listening to the 1997 music score written by Canadian composer Paul Zaza, which adds much to the excitement.Hitch began here his trend of on screen cameo appearances: he appears with his back to the camera in a newsroom, and is in the crowd when the killer is unmasked and arrested. His assistant director was his wife Alma, whom he'd recently married.Filmed again in 1932 (with Novello reprising the title role), in 1944 (with Laird Cregar), and 1954 (with Jack Palance).Eight out of 10.