The Lodger: A Story of the London Fog

About the production

The film was shot on a glass studio floor that could be lit from below, creating the fog effect. Hitchcock made his first cameo appearance in this film as an extra sitting at a desk in the newsroom. The production faced challenges from the studio who wanted a more conventional ending, but Hitchcock fought for his artistic vision.

Themes

Themes & topics

Historical background

The Lodger (1927) was Hitchcock's first thriller and Germany-influenced sound-ready silent.

Why this film matters

Identified Hitchcock themes—wrong man, blonde victims, handcuffs—begin here.

Making of

The production of The Lodger marked a turning point in Hitchcock's career, establishing many techniques he would use throughout his filmography. The director fought with studio executives over the film's ending and the ambiguity of the lodger's guilt. Ivor Novello's star power led to multiple versions being shot, including one where he was clearly innocent. The film's visual innovations included the use of subjective camera angles, particularly the ceiling shot that shows the lodger's pacing from below. Hitchcock and his cinematographer Gaetano di Ventimiglia developed techniques to create the London fog effect using glass floors and strategic lighting. The production was relatively quick, shooting in just a few weeks at Islington Studios, but Hitchcock spent considerable time on the visual design and storyboarding.

What critics said

British critics noticed promise; Hitchcock later called it first true Hitchcock film.

Did you know?

• This was Alfred Hitchcock's third feature film but is widely considered his first true 'Hitchcock film' containing his signature themes and style.
• The film was heavily influenced by German Expressionism, particularly in its visual style and use of shadows.
• Ivor Novello, who played the lodger, was a major matinee idol of the era and insisted on a happy ending, which Hitchcock reluctantly included in some versions.
• The original novel by Marie Belloc Lowndes was itself based on the Jack the Ripper murders.
• Hitchcock's wife Alma Reville worked as the film's editor and assistant director.
• The film was banned in several American cities for being too disturbing.
• The triangular glass ceiling in the lodger's room was designed to create shadows resembling a cross, adding religious symbolism.
• Hitchcock considered this his favorite of his British films.
• The film's success established Hitchcock as a serious director and gave him creative control over his subsequent projects.
• The famous tracking shot following the lodger pacing above the Buntings was achieved by cutting a hole in the floor and mounting the camera below.

Awards & recognition

• No major awards were given for the production in 1927

Visual style

The cinematography by Gaetano di Ventimiglia was revolutionary for its time, employing German Expressionist techniques with a distinctly British sensibility. Notable innovations include the subjective camera angles that put viewers in the characters' perspectives, the famous ceiling shot showing the lodger's pacing, and the creative use of shadows and light to create psychological tension. The film made extensive use of chiaroscuro lighting to enhance the mysterious atmosphere. The fog effects were achieved through practical means including glass floors, smoke machines, and careful lighting, creating an eerie, dreamlike quality that became synonymous with London thrillers.

Innovations

The film pioneered several technical innovations that would become standard in thriller cinema. The ceiling shot required cutting a hole in the studio floor and mounting the camera below, a technique Hitchcock would reuse. The film's use of subjective point-of-view shots influenced generations of filmmakers. The pacing and editing techniques, particularly during suspense sequences, established a template for thriller editing. The production design, especially the triangular ceiling in the lodger's room, created psychological tension through architecture. The film also experimented with superimposition and multiple exposures to create ghostly effects.

Music

As a silent film, The Lodger originally featured live musical accompaniment varying by theater. The most common score was compiled from classical pieces by composers like Debussy and Chopin. Modern restorations have featured new scores by composers including Neil Brand. The music emphasized the film's suspenseful atmosphere, with frantic strings during chase scenes and melancholic piano for romantic moments. Some theaters used orchestras while others employed a single organist, leading to varying musical experiences across different venues.

Famous quotes

To-night, golden hair will not save you!" (intertitle)

There's a maniac who's killing all the golden-haired girls." (intertitle)

The police have a clue - but it's a clue that will lead nowhere." (intertitle)

Every night at the same hour - the same terrible thing happens!" (intertitle)

Memorable scenes

• The opening sequence showing the terrified face of a screaming woman through a newspaper headline about 'The Avenger' murders
• The lodger's arrival at the boarding house in the fog, his face obscured by his hat collar
• The ceiling shot showing the lodger's obsessive pacing above the Buntings
• The chase scene through London's foggy streets with the pursuing mob
• The climactic handcuff scene where the lodger is nearly captured by the mob
• The final revelation where the real killer is confronted

What audiences thought

The film was a commercial success in Britain, particularly in London where audiences related to the familiar foggy streets. American audiences were also receptive, though some found it too intense for the period. The film's popularity helped establish Ivor Novello as a film star beyond his stage career. Contemporary audience reactions included reports of people screaming during key suspense scenes. The film's success gave Hitchcock the leverage to demand more creative control over his subsequent projects.

Film connections

Influenced by

• German Expressionist cinema (particularly Murnau and Lang)
• Jack the Ripper murders
• Marie Belloc Lowndes' novel
• F.W. Murnau's 'The Last Laugh'
• Urban crime literature of the 1920s

This film influenced

• Psycho
• Frenzy
• The Wrong Man
• Blow Out
• Copycat
• From Hell
• The Girl with the Dragon Tattoo
• Zodiac
• Se7en

Film restoration

The film is well-preserved with multiple versions existing. The British Film Institute holds a restored 35mm version. Several different cuts survive, including the British version with the ambiguous ending and American versions with clearer resolution. The film has been fully restored and is available in high definition. No significant footage is believed to be lost, making it one of Hitchcock's most complete early works.

Where to watch

• The Criterion Channel
• MUBI
• Kino Lorber Blu-ray/DVD
• BFI Player (UK)
• Amazon Prime Video (for rent/purchase)
• YouTube (official uploads)
• Various public domain sites
• Film archives and cinematheques