A landlady suspects her new lodger is the madman killing women in London.
A landlady suspects her new lodger is the madman killing women in London.
El enemigo de las rubias, Der Schrecken von London, Der Mieter: Eine Geschichte aus dem Londoner Nebel, The Case of Jonathan Drew, Les Cheveux d'or, L'Éventreur, O Pensionista, De Geheimzinnige Gast
Essential Hitchcock, The Lodger is also important in silent cinema and movies in general. There's so much about it or coalesced into it, it almost seems trivial to notice such details as Alma Reville's cameo or that long close-up of Ivor Novello's lips gravitating towards the camera, which are indeed the very matter of this film, after all.
For starters, The Lodger is a first in virtually every regard. Hitchcock's best silent along with The Ring (1927), you could safely argue that, hadn't talkies emerged as mainstream due to The Jazz Singer (from the same year), the master of suspense would have gone to enjoy a similar status as other directors of the era like Griffith himself. Having done his…
"The Lodger" is a solid early silent film from Alfred Hitchcock. Taking inspiration from German expressionism "The Lodger" is a translucent off-kilter thriller with an engaging narrative and cinematography that changes colours with the mood of the film. Some of the acting can come across as a bit melodramatic but for a silent film the actors do a good job of selling the story. Over-all this is a really solid entry in Hitch's early filmography and one I'd recommend.
The last notable Hitchcock film I hadn't yet seen. (All that's left now is some of the minor early stuff: Manxman, Skin Game, etc.) Is-he-or-isn't he? narrative not terribly suspenseful by this director's soon-to-be-towering standard—this is neither as creepy nor remotely as fog-shrouded as I'd always assumed—but Hitchcock's experiments in suggesting sound via purely visual means still astonish. It's one thing to cut from the lodger pacing in his room to the family downstairs, staring up at the ceiling in response; it's pure Hitch to frame the ground-floor actors beneath the pendants of a gently swaying chandelier-style light fixture, and then to eliminate the ceiling altogether (replaced with glass, I assume?) and show the lodger's actual footfalls. Those are fairly brief flourishes, though, and it'd take him nearly another decade to start choosing and/or commissioning screenplays that could match his formal wit.
TO – NIGHT
Hitchcock's first juxtaposition of death and sexuality. Women parade their bodies across the screen, and they're as tantalizing for their audience (both in the film and in the theater) as their murders are for the audiences reading the stories "wet from the press" or hearing them "hot over the aerial". Dead bodies make stories hot and wet just as much as naked ones.
Of course, Hitchcock's visual proclivities extend far past his ability to provoke audiences. His creative visual storytelling, which made him such a legend a couple decades after he made this film, can be seen in full force from the silhouetted cross falling across the titular character's face to the transparent ceiling shot…
Crime | Drama | Mystery
Joe Betts: Does this lodger of yours mean any harm to Daisy?
The Landlady: Don't be silly, Joe. He's not that sort. Even if he's a bit queer, he's a gentleman.
THE LODGER is a silent classic film from Alfred Hitchcock, considered by many to be the first REAL Hitchcock film. And also, his first suspense thriller. The story about a serial killer in London who murders blond women and leaves a calling card, and The killer goes by the name of THE AVENGER. All in all, this is a great film, one the best of Hitchcock's silent films and possibly one of the best silent films as well. 85/100
THE LODGER merupakan silent…
When I've put a rope round the Avenger's neck, I'll put a ring around Daisy's finger.
This is my 32nd Alfred Hitchcock film but my first from his silent era despite him being one of my favorite directors. Shamefully I can probably count how many silent films I've watched on one hand. It's less a matter of personal taste and more a matter of my ignorant ass not giving silent films a chance. It's something I'll work on going forward.
I knew going in that even though this isn't his first film, it's still considered the first "Hitchcock Film", not only by fans but by the director…
I’ve been around enough silent movies to know that you shouldn’t watch them drunk and yet here I was..squinting at subtitles trying to solve a murder mystery I made up in my head that apparently didn’t exist. The lighting, music and makeup looked even more amazing and dreamlike in a drunken haze. But take my 3stars as a guess more than a well thought out critique that I usually give.
Note: the movie night crew was probably right suggesting we watch this one first and then follow it up with Fanatic. I drank more than planned to make it through that one and feel a little bad for disrespecting a classic, but what you gonna do..you can’t watch Fanatic sober or else that would be disrespectful to good movies.
Generic 3 1/2 stars. I did watch it, but I was four/five beers in and had just watched The Fanatic (directed by Fred Durst) so my attention span wasn't at top form. I got the gist of it, I think, looked nice, why someone would call himself the Avenger and only murder fair haired women on Tuesdays wasn't answered. I think? Maybe it was, half the time I was thinking about how bad the Fanatic was and how annoying that that piece of shit was in my head - then more beer was drank. So, sorry Hitchcock.
Never avenge where you eat.
I’ve already reviewed this and I love it just as much and I’m like the Ivor Novello character just as much, except this time:
A) I noticed a little cat that looked like my sweetheart’s cat and went “awwwwww” for 14 seconds, and
B) my toast popped at precisely the same time as when Ivor knocked on the front door.
So yeah, you could call this a successful repeat viewing.
'Tis Alfred Hitchcock's third film, and considered the first to feel like trademark Hitchcock. I found it to be simple, straightforward, and dependably entertaining. Hitch gets a lot of mileage from an is-he-or-isn't-he plot about a lodger who takes residence in a family's home during the time a serial killer is on the loose. The recipe for suspense is already in place, as his true identity is not so important as the relationship he builds with the young lady who lives there, thus ratcheting up the tension -- like wondering if there really is a bomb under the table while more and more people come into the room. I did chuckle at the name the killer gives himself via his calling card: The Avenger. In my silly mind, I thought, ah, so Captain America wasn't the first one after all. Sorry, all right, good night.
I LOVED THIS MOVIE.
I was emotionally invested (so much so that I was fully ready to throw things if Our Heroine ultimately ended up with the Cop Boyfriend).
I didn't know where it would eventually lead (I wasn't SURE if the lodger was Bad or not, ditto the Cop Boyfriend).
The climactic scene had me LITERALLY on the edge of the couch (TRULY IT COULD HAVE GONE EITHER WAY and while I would not have been surprised if there was a downer ending, I would have been GUTTED).
That shot of the lodger headed downstairs where you can only track his progress by his hand on the banister is CHILLING AF and I loved it.
AHHHHHHHHHHHHHH SO GOOD.
Two weird main leader. Considered one of the first Alfred Hitchcock films but definitely not his best.
I didn't realize the first time how amazing the music is. A precursor to Danny Elfman, Bernard Herrmann, and Philip Glass.
Hitchcock's third feature and his first film to be considered truly Hitchcockian, The Lodger is a fascinating if imperfect showcase for the themes and techniques that would soon become his trademarks.
I saw this as part of a binge of silent films from around the world. Seeing it in this context, it's remarkable how Hitchcock has assimilated the cinematic techniques that were being pioneered in Soviet montage and German Weimar cinema only a few short years earlier. An excellent opening act depicts the latest in a series of Jack the Ripper-style murders before launching into a montage of neon-drenched media sensationalism and public hysteria that remains incredibly well edited even by today's standards. Hitchcock filmed The Lodger shortly after visiting…
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The last few years have not only brought LGBTQ+ films and stories further into the mainstream, but queer films have…