A landlady suspects that her new lodger is the madman killing women in London.A landlady suspects that her new lodger is the madman killing women in London.A landlady suspects that her new lodger is the madman killing women in London.
June Tripp
- Daisy - A Mannequin
- (as June)
Daisy Campbell
- Mother
- (uncredited)
Maudie Dunham
- First Victim
- (uncredited)
Reginald Gardiner
- Dancer at Ball
- (uncredited)
Eve Gray
- Showgirl Victim
- (uncredited)
Alfred Hitchcock
- Extra in Newspaper Office
- (uncredited)
Alma Reville
- Woman Listening to Wireless
- (uncredited)
- Director
- Writers
- Marie Belloc Lowndes(uncredited)
- Eliot Stannard
- Alfred Hitchcock(uncredited)
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaThis is the first movie directed by Sir Alfred Hitchcock in which he makes one of his trademark cameo appearances. Here, it's as "Extra in Newspaper Office". A modern source also has him standing in a crowd as the leading man is arrested.
- Goofs(at around 24 mins) The Lodger (Ivor Novello) and Daisy (June Tripp) are playing a game of chess. The chess board is set up incorrectly, as the bottom-right square is black. This is most obvious when The Lodger is poking the coals in the fireplace.
- Crazy creditsClosing credits: Thank you to everyone who supported the BFI's Silent Hitchcock restoration project.
- Alternate versionsThe original version of The Lodger directed by Alfred Hitchcock in 1926 was restored in 1999 in honor of the directors 100th anniversary. The film was restored by the British National Film & TV Archives and a new score by Ashley Irwin was commissioned by ZDF/ARTE (Germany) and premiered on August 13, 1999 (what would have been Hitchcock's 100th birthday).
- ConnectionsEdited into Histoire(s) du cinéma: Une vague nouvelle (1999)
Featured review
For a 1926 production it's inventive, smart, and a great opening to Hitchcock
The Lodger (1927)
This is the first of three movies in a 30 year period based on the same plot, and in terms of plot this is the best of them. (There is also a recent one that is the worst of the bunch.) It is, for sure, an early Alfred Hitchcock film. It's early in the sense that it's still creaky at times. It's Hitchcock because it's tightly made, visually dramatic, and it combines sympathy and suspense really well.
If you are into what makes Hitchcock tick, you really have to see this movie. Not that you should mind--it's great stuff. First of all you get the presumably innocent man accused of a string of murders (this is ambiguous). Then you have the mixing of sex and murder (or lust and murder--there is no sex here). And then you have the way Hitchcock mixes every day regular people and very safe and homey situations with genuine terrible murderous events. And finally there is his filming and editing.
Take a look even at the very first shot--a close up a screaming woman shot at an angle (a "Dutch angle"). Look next at how dark and impressionistic the next shots are of a horrified crowd, a cop, and a reporter. Later there are other interesting cuts to lead you to thinking a certain way about the characters. And the overlapping of images. And the shot of a man walking overhead on glass, as if you can see through the ceiling.
The humor and clever conversation of later versions of this story are naturally lost on us here. Also in good Hitch fashion there are few intertitle cards. Good thing. The visuals tell the story. And wait until the final scenes, the Pieta all over again, really gorgeous. Some of these last shots were redone at the request of the studio to change the impressions of the main character, a handsome man with an acting reputation to protect. Hitchcock went along, and it seems to be acceptable all around by the time it was released.
It's hard to find a decent "print" of this (a version from a good copy of the film, on DVD or streaming), but it has recently been restored and re-scored (orchestrated) and that's for sure the one to get. It is so far only a U.K. release, apparently even a blu-ray version is out (look for the red and black Constructivist cover). Criterion has not released a version. The original release has different scenes tinted blue or amber for greater effect and the usual version on Hitchcock DVDs and DVD sets in the U.S. is all black and white.
So, if you don't like silent films and can't stand choppy or grainy or badly cropped releases of early films, don't see this. But if you can find the clean new restoration, or you just love Hitchcock, or if you really like silent films (they get more and more amazing the more you see), then see this! It's the director's first really characteristic feature.
This is the first of three movies in a 30 year period based on the same plot, and in terms of plot this is the best of them. (There is also a recent one that is the worst of the bunch.) It is, for sure, an early Alfred Hitchcock film. It's early in the sense that it's still creaky at times. It's Hitchcock because it's tightly made, visually dramatic, and it combines sympathy and suspense really well.
If you are into what makes Hitchcock tick, you really have to see this movie. Not that you should mind--it's great stuff. First of all you get the presumably innocent man accused of a string of murders (this is ambiguous). Then you have the mixing of sex and murder (or lust and murder--there is no sex here). And then you have the way Hitchcock mixes every day regular people and very safe and homey situations with genuine terrible murderous events. And finally there is his filming and editing.
Take a look even at the very first shot--a close up a screaming woman shot at an angle (a "Dutch angle"). Look next at how dark and impressionistic the next shots are of a horrified crowd, a cop, and a reporter. Later there are other interesting cuts to lead you to thinking a certain way about the characters. And the overlapping of images. And the shot of a man walking overhead on glass, as if you can see through the ceiling.
The humor and clever conversation of later versions of this story are naturally lost on us here. Also in good Hitch fashion there are few intertitle cards. Good thing. The visuals tell the story. And wait until the final scenes, the Pieta all over again, really gorgeous. Some of these last shots were redone at the request of the studio to change the impressions of the main character, a handsome man with an acting reputation to protect. Hitchcock went along, and it seems to be acceptable all around by the time it was released.
It's hard to find a decent "print" of this (a version from a good copy of the film, on DVD or streaming), but it has recently been restored and re-scored (orchestrated) and that's for sure the one to get. It is so far only a U.K. release, apparently even a blu-ray version is out (look for the red and black Constructivist cover). Criterion has not released a version. The original release has different scenes tinted blue or amber for greater effect and the usual version on Hitchcock DVDs and DVD sets in the U.S. is all black and white.
So, if you don't like silent films and can't stand choppy or grainy or badly cropped releases of early films, don't see this. But if you can find the clean new restoration, or you just love Hitchcock, or if you really like silent films (they get more and more amazing the more you see), then see this! It's the director's first really characteristic feature.
helpful•143
- secondtake
- Aug 21, 2012
Details
- Release date
- Country of origin
- Language
- Also known as
- The Lodger
- Filming locations
- Victoria Embankment, Westminster, London, England, UK(opening scenes)
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- £12,000 (estimated)
- Gross worldwide
- $83,568
- Runtime1 hour 32 minutes
- Color
- Sound mix
- Aspect ratio
- 1.33 : 1
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Top Gap
By what name was The Lodger: A Story of the London Fog (1927) officially released in India in English?
Answer