Alfred Hitchcock wasn’t an immediate success as a director. His bad luck turned around with The Lodger, released 14 February 1927 in the U.K. and 10 June 1928 in the U.S. It was a huge box office hit in the U.K., and received wonderful reviews.
Some name this as the first truly Hitchcockian film, setting the stage for styles and themes which permeated much of the rest of his work.
The Lodger also has the first recognisable Hitchock cameo, 5:33 in. He’s at a newsroom desk, his back to the camera. The actor set to play the phone operator didn’t show up, so Hitchcock took over. He also shows up in a mob scene towards the end.
The film is based upon Marie Belloc Lowndes’s 1913 novel of the same name, about the 1888 hunt for Jack the Ripper. It was remade in 1932, 1944, 1953 (as Man in the Attic), and 2009. A 1960 opera was also based on the novel.
Another adaptation of the novel, the comic play Who Is He? (1915), written by Horace Annesley Vachell, was additional inspiration.
The mood and filming techniques were inspired by German Expressionism. While working on the German–British film The Blackguard in 1924, Hitchcock studied several films being produced nearby, particularly F.W. Murnau’s The Last Laugh. He’d also been inspired by Fritz Lang’s Der Müde Tod (1921).
Producer Michael Balcon was furious when he saw the finished product, and almost shelved both the film and Hitchcock’s career. After a lot of fighting, they found a compromise, and film critic Ivor Montagu was hired to edit it.
At first, Hitchcock resented this, but Montagu only made minute suggestions, such as reshooting a few minor scenes and changing some intertitles. Montagu respected his talent and creativity too much to radically edit everything.
When beautiful matinée idol Ivor Novello was cast as the star, the studio demanded changes to the script. They didn’t want any suggestion of ambiguity about his guilt vs. innocence, since ambiguity might suggest he were a villain, and the public couldn’t have that.
You’ll have to watch the film to see which side won.
The film opens with the murder of a young blonde woman. When her body is discovered, there’s a triangle on her, bearing the name of The Avenger. This murderer strikes blondes on Tuesday nights and leaves that triangle as his calling-card.
That night by a fashion show, blonde model Daisy Bunting (June Tripp) laughs at her co-workers’ hysterical fears, and how the other blondes are hiding their hair with wigs and hats. When she comes home, she finds her old parents and her rather unwanted boyfriend, policeman Joe (Malcolm Keen), discussing the crime.
A beautiful young man (Ivor Novello) arrives by the Bunting house, inquiring after the room for rent. Mrs. Bunting is very nervous to see the lower half of his face covered by a scarf, just like The Avenger, but lets him inside and shows him the upstairs room.
Mrs. Bunting is further weirded out when she discovers the lodger has turned around all the paintings of young blonde women. He says he doesn’t like them, and asks if they can be put somewhere else.
I got a good laugh out of Joe’s intertitle, “Anyway, I’m glad he’s not keen on the girls.” In a later intertitle, Mrs. Bunting also describes the lodger as “a bit queer.” Ivor was gay in real life, and in a relationship with Robert “Bobbie” Andrews from 1916 until his death in 1951.
Daisy and the lodger start becoming closer, which Joe deeply resents. Meanwhile, the lodger’s strange behaviour begins to arouse the suspicions of Joe (now assigned to The Avenger case) and Mrs. Bunting. It doesn’t help matters that The Avenger’s murders are moving towards the Buntings’ home.
In addition to the jealous, controlling Joe, Daisy’s parents also disapprove of her budding romance with the lodger. Daisy, however, stands her ground, and continues meeting him for stolen moments. When Joe catches them on a date, Daisy tells him what’s what, and dumps him.
Joe is newly-determined to prove the lodger is The Avenger, and intensifies his investigation. Will the lodger be found guilty or innocent?