Jack el destripador

A tight, terse little black and white film about.....well, about Jack the Ripper. Prostitute victims are transformed into actresses for the film (and obviously for the Code) but it follows somewhat the modus operandi of Jack. You never see the violence, it is only implied and that works for this film.

Laird Cregar is absolutely marvelous as the strange, sweating lodger who may or may not be the murderer. He was perfect for the part, with those great, brooding eyes. Sadly, he died at a very early age.....he could have gone on to greater things. Merle Oberon is lovely, of course, but in the real world she certainly would have not made it on the musical stage....can't sing (obviously dubbed), can't dance,...but that's irrelevant in the scheme of things. George Sanders, that most wonderful gentleman, doesn't get to be too suave in his part as the Scotland Yard inspector, but he is, as he always was, very good. And who could ever fault Sara Allgood, as Oberon's aunt......she never gave a bad performance in her long career.....just marvelous. This film is worth watching and you will agree that Laird Cregar is as good as it gets playing a very edgy man with some big problems!!

This is the first HOLLYWOOD lensing of the Jack The Ripper tale (Alfred Hitchcock choos ehtis material for his first film thriller in 1926, and there was a rather talky British remake in 1932) The film is a testimony to a great actor, Laird Cregar. He plays a tenant in a rooming house set in the middle of the Ripper murder sites. Cregar gives a wonderful performance, looking trapped when Scotland Yard detective George Sanders (always a treat) is around, or when his landlord's lovely niece (played by the beautiful Merle Oberon) is nearby. The best performance Cregar gives when all is closing in on him. Director John Brahm's camera catches him in close-up, savoring every bead of paniced sweat. Sadly, since Cregar was vastly over weight, only sinister roles came his way. Trying to crash diet, he died of a heart attack at the youthful age of 28. Had he lived, we would seen him become a more famous actors, taking roles probably well into the 1990's.

I haven't seen the Hitchcock original, although I have seen the 50's version Man in the Attic, starring Jack Palance, a film I liked. This 40's version of the novel is an equally fine movie, with an entertainingly creepy lead performance by Laird Cregar in the role as the lodger (Jack the bloomin' Ripper to you and me). The foggy London streets create nice atmosphere and the support cast all also contribute nicely. All-in-all, a quality production.

"The Lodger" is not a history lesson and is based very, very loosely on Jack the Ripper. I say this because as a retired history teacher, I've noticed that a lot of folks think many film characters are real...and Mr. Slade and his odd proclivities are based on some real events as well as a lot of fiction.

When the film begins, London is all in a panic due to the murders by Jack the Ripper. During all this hubbub, the ever-odd Mr. Slade (Laird Cregar) arrives at the home of two folks (Sara Allgood and Cederic Hardwicke). He wants to rent a room and seems like a pretty normal guy...initially. However, through the course of the film, you see more and more of the weird and peculiar aspects of Slade and folks start to add up all the weird details and think he might just be that serial killer.

This film works pretty well because it sets an excellent creepy mood and Laird Cregar really was terrific as the creepy lodger. Too bad he died so young, as he sure had a great screen presence! Worth seeing.

The legendary true story of 19th century London's "Jack the Ripper" has been told countless times in TV and film. Here, the facts are augmented into more of a character study and an observation of the perceptions and suspicions from people when confronted by a person who is decidedly "different". This remake of a silent Hitchcock film focuses on the title character Cregar, an unusual, detached man who takes rooms in an affluent household at the same time that a deranged killer is carving up local "actresses" (1940's censorship disallowed the portrayal of what the victims were in real life -- prostitutes.) One ironic, but unlikely, twist is that once Cregar takes the rooms, it is discovered that a prominent local actress (Oberon) is living in the home as well! Oberon and her aunt Allgood and uncle Hardwicke become increasingly suspicious of the new lodger as he slinks out late at night, burns certain possessions of his and gets sweaty and unnerved at the mere mention of actresses. Is he The Ripper or does he have some similarly-themed problem which will cause him to be thought of as The Ripper even though he isn't? This is basically the thrust of the tale (stunted occasionally by some amusingly awkward musical moments from Oberon and her voice-double.) The fog machine was working overtime during this film and it almost covers up the fact that this was filmed on a backlot. Still, there's enough atmosphere to give the movie some sense of the time and place. Oberon is stunning to behold in a parade of ornate gowns and hairstyles, her unique face lit well by the man she would soon marry and her graceful manner at it's peak. Sanders has little of interest to do as a police inspector who finds time to try to woo her while the body count racks up. As the aunt and uncle, Allgood (especially) and Hardwicke provide delightful, thoroughly solid performances. The most memorable aspect of the film, however, is the startling performance of Cregar and the innovative ways in which he is filmed and lit. (The camera setups, at various times, are leagues ahead of other films being done during this period.) There is an eerie extra light on Cregar when he isn't in silhouette. He gives such a vivid, stark performance (at times literally breathing down the viewers' necks!) that, once seen, he is unlikely to be forgotten. Fortunately, at 84 minutes, the film doesn't overstay its welcome and provides a nice bit of creepy entertainment. Even at this length there are some slightly unnecessary and dull interludes among the townsfolk, but for the most part, the film works. Though the violence is, by now, so tame as to be nonexistent, the menace of the killer is still effective and occasionally very creepy. (Some modern slasher films like 1981's "The Fan" drew obvious inspiration from this one.) Cregar, who died of a heart attack after quickly shedding 100 pounds in order to change his image, is an actor whose screen presence ran circles around many of his contemporaries. That he died so young (he was 28 years old in this film!) and before seeing his full potential realized is one of Hollywood's great losses.