The Lodger: A Story of the London Fog

The Lodger: A Story of the London Fog is a 1927 British silent film directed by Alfred Hitchcock and starring Marie Ault, Arthur Chesney, June Tripp, Malcolm Keen, and Ivor Novello. Hitchcock's third feature film, it was released on 14 February 1927 in London and on 10 June 1928 in New York City. Based on the novel The Lodger by Marie Belloc Lowndes and the play Who Is He? co-written by Belloc Lowndes, the film is about the hunt for a "Jack the Ripper"-like serial killer in London.

The Lodger: A Story of the London Fog
Promotional poster for a double bill with Hitchcock's Murder! (1930)
Directed byAlfred Hitchcock
Produced by
Screenplay byEliot Stannard
Based onThe Lodger
by Marie Belloc Lowndes
CinematographyGaetano di Ventimiglia
Edited byIvor Montagu
Distributed by
Release date
  • 14 February 1927 (1927-02-14) (UK)
Running time
90 minutes (2012 restoration)
CountryUnited Kingdom
LanguageSilent film with English intertitles
BudgetUK £12,000


A young blonde woman, her golden hair illuminated, screams. She is the seventh victim of a serial killer known as "The Avenger", who targets young blonde women on Tuesday evenings.

That night, Daisy Bunting (June Tripp), a blonde model, is at a fashion show when she and the other showgirls hear the news. The blonde girls are horrified; hiding their hair with dark wigs or hats. Daisy laughs at their fears, and returns home to her parents, Mr and Mrs Bunting (Arthur Chesney and Marie Ault), and her policeman sweetheart, Joe (Malcolm Keen); they have been reading about the crime in the newspaper.

A handsome young man (Ivor Novello), bearing a strong resemblance to the description of the murderer, arrives at the house and asks about the room for rent. Mrs. Bunting shows him the room, which is decorated with portraits of beautiful young blond women. The man is rather secretive, which puzzles Mrs. Bunting. However he willingly pays her a month's rent in advance, and asks only for a little to eat. Mrs. Bunting is surprised to see that the lodger is turning all the portraits around to face the wall – he politely requests that they be removed. Daisy comes in to remove the portraits, and an attraction begins to form between Daisy and the lodger. The women return downstairs, where they hear the lodger's heavy footsteps as he paces the floor.

The relationship between Daisy and the reclusive lodger gradually becomes serious, and Joe, newly assigned to the Avenger case, begins to resent this. The following Tuesday, Mrs. Bunting is awoken late at night by the lodger leaving the house. She attempts to search his room, but a small cabinet is locked tight. In the morning, another blonde girl is found dead, just around the corner.

The police observe that the murders are moving towards the Buntings' neighbourhood. Mrs. Bunting tells her husband that she believes the lodger is the Avenger, and the two try to prevent Daisy spending time with him. The next Tuesday night, Daisy and the lodger sneak away for a late-night date. Joe tracks them down and confronts them; Daisy breaks up with Joe. Joe begins to piece together the events of the previous weeks, and convinces himself that the lodger is indeed the murdering Avenger.

With a warrant in hand, and two fellow officers in tow, Joe returns to search the lodger's room. They find a leather bag containing a gun, a map plotting the location of the Avenger's murders, newspaper clippings about the attacks, and a photograph of a beautiful blonde woman. Joe recognizes this woman as the Avenger's first victim. The lodger is arrested, despite Daisy's protests, but he manages to run off into the night. Daisy goes out and finds him, handcuffed, coatless, and shivering. He explains that the woman in the photograph was his sister, a beautiful debutante murdered by the Avenger at a dance she had attended; he had vowed to his dying mother that he would bring the killer to justice.

Daisy takes the lodger to a pub and gives him brandy to warm him, hiding his handcuffs with a cloak. The locals, suspicious of the pair, pursue them, quickly gathering numbers until they are a veritable lynch mob. The lodger is surrounded and beaten, while Daisy and Joe, who have just heard the news from headquarters that the real Avenger has been caught, try in vain to defend him. When all seems lost, a paperboy interrupts with the news that the real Avenger has been arrested. The mob releases the lodger, who falls into Daisy's waiting arms. Some time later the lodger is shown to have fully recovered from his injuries and he and Daisy are happily living together as a couple.


Alfred Hitchcock cameos: Alfred Hitchcock appears sitting at a desk in the newsroom with his back to the camera and while operating a telephone (5:33 minutes into the film). This is Alfred Hitchcock's first recognisable film cameo and was to become a standard practice for the remainder of his films.[1] Hitchcock's cameo happened because the actor who was supposed to play the part of the telephone operator failed to show up, and Hitchcock filled the breach.


The Lodger is based on a novel of the same name by Marie Belloc Lowndes, about the Jack the Ripper murders, and on the play Who Is He?, a comic stage adaptation of the novel by the playwright Horace Annesley Vachell that Hitchcock saw in 1915.[2]

Originally, the film was intended to end with ambiguity as to whether or not the lodger was innocent. However, when Ivor Novello was cast in the role, the studio demanded alterations to the script. Hitchcock recalled:[3][4]

They wouldn't let Novello even be considered as a villain. The publicity angle carried the day, and we had to change the script to show that without a doubt he was innocent.[4]

Ultimately, Hitchcock followed these instructions, but avoided showing the true villain onscreen.[4]

Upon seeing Hitchcock's finished film, producer Michael Balcon was furious, and nearly shelved it (and Hitchcock's career). After considerable bickering, a compromise was reached and film critic Ivor Montagu was hired to salvage the film. Hitchcock was initially resentful of the intrusion, but Montagu recognised the director's technical skill and artistry and made only minor suggestions, mostly concerning the title cards and the reshooting of a few minor scenes.[5]

The result, described by Hitchcock scholar Donald Spoto, is "the first time Hitchcock has revealed his psychological attraction to the association between sex and murder, between ecstasy and death." It would pave the way for his later work.[6]

Hitchcock's assistant, Alma Reville, married Hitchcock on 2 December 1926, shortly before the film was released.


The Lodger introduced themes that would run through much of Hitchcock's later work: the innocent man on the run for something he didn't do. Hitchcock had clearly been watching contemporary films by Murnau and Lang,[1][7] whose influence can be seen in the ominous camera angles and claustrophobic lighting. While Hitchcock had made two previous films, in later years the director would refer to The Lodger as the first true "Hitchcock film".[8] Beginning with The Lodger, Hitchcock helped shape the modern-day thriller genre in film.[9]

Preservation and home video status

In commemoration of the 100th anniversary of Hitchcock's birth, a new orchestral soundtrack was composed by Ashley Irwin. The composer's recording of the score with the Deutsches Filmorchester Babelsberg was broadcast over the ARTE TV network in Europe on 13 August 1999. Its first live performance was given on 29 September 2000 in the Nikolaisaal in Potsdam, by the Deutsches Filmorchester Babelsberg under the direction of Scott Lawton.

A fully tinted restoration of The Lodger was completed in 2012, as part of the BFI's £2 million "Save the Hitchcock 9" project to restore all of the director's surviving silent films.[10]

Like Hitchcock's other British films, all of which are copyrighted worldwide,[10][11] The Lodger has been heavily bootlegged on home video.[12] Despite this, various licensed, restored releases have appeared on DVD, Blu-ray and video on demand services from Network in the UK, MGM and Criterion in the US, and others.[13]


  1. Lodger, The: A Story of the London Fog (1926) at the British Film Institute's Screenonline
  2. Spoto, Donald (1999). The Dark Side of Genius: The Life of Alfred Hitchcock. Da Capo. p. 84. ISBN 0-306-80932-X.
  3. IMDB trivia
  4. Spoto, Donald pg. 85
  5. Spoto, Donald pgs. 88–89
  6. Spoto, Donald pg. 91
  7. Spoto, Donald pg. 86
  8. Richard Allen and Sam Ishii-Gonzales Alfred Hitchcock Centenary Essays pg. iv
  9. Steve Bennett. "Thriller Fiction Genre definition". Retrieved 22 June 2010.
  10. "Alfred Hitchcock Collectors' Guide". Brenton Film. Retrieved 24 September 2018.
  11. "Alfred Hitchcock: Dial © for Copyright". Brenton Film. Retrieved 24 September 2018.
  12. "Bootlegs Galore: The Great Alfred Hitchcock Rip-off". Brenton Film. Retrieved 24 September 2018.
  13. "Alfred Hitchcock Collectors' Guide: The Lodger: A Story of the London Fog (1926)". Brenton Film. Retrieved 24 September 2018.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.