The Lodger

Based on the original silent version of THE LODGER, Director Maurice Elvey's THE PHANTOM FIEND is a classic in its own right.

Angeloff (Ivor Novello) moves into a London boarding house just as a murdering maniac gets busy with his grisly work. Angeloff is immediately under suspicion due to his odd behavior and "peculiar" way of speaking. His deepening relationship with a young woman named Daisy (Elizabeth Allan) is the emotional heart of the film.

The fear of strangers / others is explored. Novello plays his eccentric role very convincingly, mixing a controlled menace with a subtle vulnerability.

Elvey uses various lighting and camera techniques to give the sense of growing paranoia.

A wonderful movie that's more than just another thriller...

Not much to recommend in this creaky antique. It's another version of the Ripper story, with the mysterious killer loose in London. He appears to be a lodger in an ordinary household where the daughter takes a shine to him despite his odd behavior. But then his lyrical piano playing does indicate a romantic soul. On the whole, however, actor Novello delivers a rather unfocused performance as the lodger, never gelling as a real object of menace. But I suppose something like that was required for his crucially ambiguous role. On the other hand, actress Allan is quite natural as the charming daughter, a turn that could easily transfer to the modern screen.

The Amazon print that I saw was murky in the extreme, effects of age I suppose. Too bad, because whatever atmospheric lighting was used was clouded over; that plus a muddy sound track made this version rather difficult to watch. Moreover, the choppy narrative suggests a poorly edited longer cut. Overall, it's an oft-told tale, done to much better effect by Hitchcock (1927) and John Brahm (1944), at least in terms of the version I saw.

Lodger, The (1932)

** (out of 4)

The first remake of Alfred Hitchcock's 1927 film of the same title. A serial killer is running through London at the same time as a strange young man (Ivor Novello) shows up at a boarding house. Even though this thing runs a small 60+ minutes it feels like three hours because the pacing is so incredibly slow and boring. The acting is among the worst I've ever seen and the performance by Novello is incredibly bad. I could help but laugh at his acting, which is so bad it almost seems like he's spoofing the film.

I'm not too sure that with London regularly steeped in dense fog and with a murderer lurking the streets at night, I'd be looking to be renting out my spare room, but luckily for musician "Angeloff" (Ivor Novello) he not only finds bed and board with the kindly "Bunting" family but gets an added bonus in that he is soon also courting the daughter of the house, "Daisy" (Elizabeth Allan). Is he all he seems? Well the police are less than convinced as some of his nocturnal activities out-of-doors leave him open to suspicion. Now, what undoubtedly compromises this is the fact that the audience is in on the secret a bit too early in the proceedings and that it does take rather a while to get itself up and running. Once it is, though, the contributions from a lively Barbara Everest and A. W. Baskcomb as his hosts; the possibly a little too flighty Allan and the engaging Novello - who does manage to squeeze in a tune to remind us that it isn't so very long since this would have been a silent movie, all build well enough to it's dimly-lit denouement. Keep an eye out for Jack Hawkins and if you try not to compare it to other (earlier) versions, then I think it's quite a watchable outing for a charismatic star.

This was actually the shorter (67 mins. as opposed to the full-length 85) version released in the U.S. under the title THE PHANTOM FIEND. While it pales in comparison with Hitchcock's seminal original – a rare expressionist film to emerge from Britain – especially since this has the tendency typical of early Talkies to emphasize dialogue (which is so muffled as to be unintelligible most of the time anyway, a deficiency which unfortunately seems to plague most British films I've seen from this era) at the expense of technique. As a matter of fact, the latter is only apparent during the atmospheric, fog-laden climax in which leading lady Elizabeth Allen mistakes the real Ripper-type murderer for the young man who lodges with her family (Ivor Novello, who reprises his role from the Hitchcock classic!).

Despite its basic purposelessness (though I would guess that a remake was commissioned, so soon after the Silent version, not so much to have a Talkie of the intriguing story – based on a popular novel – but more in response to the American horror boom of the early 30s), the plot is compelling enough to keep one watching…and predictable enough to be followed, so that it could have dispensed with dialogue altogether. The film features an impossibly young Jack Hawkins in one of his earliest roles as a fast-talking reporter (!) and Allen's fiancé, whose jealousy of Novello leads to the latter being targeted as prime suspect of the killings (also because his background, and wardrobe, is strikingly similar to that of the murderer)!

As I said earlier, perhaps the film's best sequence – at least with respect to direction – is its denouement; however, the changes done to the ending from the Hitchcock original are unconvincing and unsatisfying (especially since the romantic triangle at the centre of the plot isn't resolved…though this may very well have been trimmed for the American version, hence its abruptness.