I wrote a new capsule review of Alfred Hitchcock’s The Lodger (the master’s first great film!) for Cine-File Chicago. A restored version screens at the Northbrook Public Library next Wednesday.
Alfred Hitchcock’s THE LODGER: A STORY OF THE LONDON FOG (Silent British Revival)
Northbrook Public Library (1201 Cedar Lane, Northbrook) – Wednesday, 1 and 7pm (Free Admission)
One of the most important and revelatory film restoration projects of recent years has been the British Film Institute’s ambitious digital refurbishing of the “Hitchcock 9” (the nine extant films that Alfred Hitchcock made in England during the silent era), re-releases of which first toured the U.S. in 2014. The crown jewel of this series is 1927’s THE LODGER, which, in spite of being the master of suspense’s first thriller and thus arguably the first true “Hitchcock film,” still hasn’t gotten its due in many quarters for being the great movie that it is. It probably hasn’t helped matters much that Hitch himself practically dismissed it in the seminal interview book Hitchcock/Truffaut by discussing it primarily in terms of pulling off the neat technical trick of shooting through a glass floor. But THE LODGER is much more interesting than that. The narrative intertwines two of what would soon become the director’s trademark plots: the story of a murderer and a “wrong man” plot (in which an ordinary man is accused of a crime he didn’t commit). THE LODGER is also, unforgettably, a love story. Daisy (June Tripp), the daughter of a married couple who run a boarding house, falls in love with the eponymous but unnamed title character (matinee idol Ivor Novello), who is also the chief suspect in a series of grisly stranglings of young blonde women. The way Hitchcock laces these elements with a potent eroticism as well as a sense of humor is impressive, notably in a scene where the lodger and Daisy play chess (the context of which gives his line “I’ll get you yet” a delicious triple meaning). When the lodger picks up a blow-poke just as Daisy bends over to pick up a chess piece that’s fallen to the floor, the viewer is left to wonder if he intends to bash her brains in. That he ends up merely stoking the fireplace nearby is both the film’s darkest and funniest joke—one that calls to mind Truffaut’s remark that Hitchcock filmed love scenes like murder scenes and vice-versa. THE LODGER was also a clear influence on Fritz Lang’s M, both in its depiction of how murder can drive a community into a lynch mob-like hysteria and in terms of its visual style: Hitch used triangle shapes as a recurring visual motif in much the same way that his German counterpart would employ spirals. Even more significantly, I never realized the extent of how expressionistically lit THE LODGER was until I viewed the BFI’s restoration, which gloriously reveals many previously unseen details in the sublime, high-contrast cinematography. Live accompaniment by Dave Drazin at both shows. (1927, 92 min, Digital Projection) MGS