The Lodger: A Story of the London Fog

Plot

In fog-shrouded London, a serial killer known as 'The Avenger' is brutally murdering young blonde women, spreading terror throughout the city. The Bunting family, who run a boarding house, take in a mysterious young man named Jonathan Drew who arrives late one night, requesting a room. Mrs. Bunting becomes increasingly suspicious when she notices the lodger's strange behavior: he carries a bag containing a map marked with red dots at murder locations, paces his room at odd hours, and seems obsessed with the blonde victims. The lodger becomes romantically involved with the Buntings' daughter Daisy, who is also blonde, causing her boyfriend Joe, a police detective, to grow jealous and suspicious. As evidence mounts against the lodger, a mob forms outside the boarding house, convinced he is The Avenger. In a dramatic climax, the lodger is pursued through the streets of London, where it's ultimately revealed that he was hunting the real killer to avenge his own sister's death.

Historical Background

The Lodger was produced during the transition period between silent films and 'talkies,' with The Jazz Singer premiering later in 1927. The film reflected post-WWI London society's anxieties about urban crime and the breakdown of traditional social structures. The 1920s saw increased interest in psychological thrillers and the exploration of human darkness, influenced by Freudian psychology. The film's focus on a serial killer also resonated with real-life concerns about crime in rapidly growing modern cities. This period saw the rise of the studio system in Britain, with Gainsborough Pictures becoming one of the major production companies.

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.

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.

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 Critics Said

Contemporary critics were divided but generally positive. The London Times praised its 'genuine suspense' and 'remarkable technical skill.' The New York Times review called it 'a picture of unusual merit and distinction.' However, some critics found it too disturbing and morally ambiguous. Modern critics universally acclaim the film as a masterpiece of silent cinema and a foundational text of the thriller genre. The British Film Institute ranks it among the greatest British films ever made, and it's frequently cited in film studies as a pivotal work in cinema history.

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.

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