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Les cheveux d'or

Titre original : The Lodger: A Story of the London Fog
  • 1927
  • Tous publics
  • 1h 32min
NOTE IMDb
7,3/10
14 k
MA NOTE
Les cheveux d'or (1927)
The Lodger: Chess
Lire clip0:57
Regarder The Lodger: Chess
1 Video
99+ photos
CriminalitéDrameMystèreThrillerDrame psychologiqueThriller psychologiqueTueur en sérieWhodunnit

Une femme soupçonne que son nouveau locataire est le psychopathe qui tue des femmes à Londres.Une femme soupçonne que son nouveau locataire est le psychopathe qui tue des femmes à Londres.Une femme soupçonne que son nouveau locataire est le psychopathe qui tue des femmes à Londres.

  • Réalisation
    • Alfred Hitchcock
  • Scénario
    • Marie Belloc Lowndes
    • Eliot Stannard
    • Alfred Hitchcock
  • Casting principal
    • June Tripp
    • Ivor Novello
    • Marie Ault
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,3/10
    14 k
    MA NOTE
    • Réalisation
      • Alfred Hitchcock
    • Scénario
      • Marie Belloc Lowndes
      • Eliot Stannard
      • Alfred Hitchcock
    • Casting principal
      • June Tripp
      • Ivor Novello
      • Marie Ault
    • 137avis d'utilisateurs
    • 100avis des critiques
    • 82Métascore
  • Voir les informations de production sur IMDbPro
  • Vidéos1

    The Lodger: Chess
    Clip 0:57
    The Lodger: Chess

    Photos999

    Voir l'affiche
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    + 992
    Voir l'affiche

    Rôles principaux12

    Modifier
    June Tripp
    June Tripp
    • Daisy - A Mannequin
    • (as June)
    Ivor Novello
    Ivor Novello
    • The Lodger
    Marie Ault
    Marie Ault
    • The Landlady
    Arthur Chesney
    • Her Husband
    Malcolm Keen
    Malcolm Keen
    • Joe - A Police Detective
    Wallace Bosco
    • Pub Customer
    • (non crédité)
    Daisy Campbell
    • Mother
    • (non crédité)
    Maudie Dunham
    • First Victim
    • (non crédité)
    Reginald Gardiner
    Reginald Gardiner
    • Dancer at Ball
    • (non crédité)
    Eve Gray
    • Showgirl Victim
    • (non crédité)
    Alfred Hitchcock
    Alfred Hitchcock
    • Extra in Newspaper Office
    • (non crédité)
    Alma Reville
    Alma Reville
    • Woman Listening to Wireless
    • (non crédité)
    • Réalisation
      • Alfred Hitchcock
    • Scénario
      • Marie Belloc Lowndes
      • Eliot Stannard
      • Alfred Hitchcock
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs137

    7,314.4K
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    Avis à la une

    7secondtake

    For a 1926 production it's inventive, smart, and a great opening to Hitchcock

    The Lodger (1927)

    This is the first of three movies in a 30 year period based on the same plot, and in terms of plot this is the best of them. (There is also a recent one that is the worst of the bunch.) It is, for sure, an early Alfred Hitchcock film. It's early in the sense that it's still creaky at times. It's Hitchcock because it's tightly made, visually dramatic, and it combines sympathy and suspense really well.

    If you are into what makes Hitchcock tick, you really have to see this movie. Not that you should mind--it's great stuff. First of all you get the presumably innocent man accused of a string of murders (this is ambiguous). Then you have the mixing of sex and murder (or lust and murder--there is no sex here). And then you have the way Hitchcock mixes every day regular people and very safe and homey situations with genuine terrible murderous events. And finally there is his filming and editing.

    Take a look even at the very first shot--a close up a screaming woman shot at an angle (a "Dutch angle"). Look next at how dark and impressionistic the next shots are of a horrified crowd, a cop, and a reporter. Later there are other interesting cuts to lead you to thinking a certain way about the characters. And the overlapping of images. And the shot of a man walking overhead on glass, as if you can see through the ceiling.

    The humor and clever conversation of later versions of this story are naturally lost on us here. Also in good Hitch fashion there are few intertitle cards. Good thing. The visuals tell the story. And wait until the final scenes, the Pieta all over again, really gorgeous. Some of these last shots were redone at the request of the studio to change the impressions of the main character, a handsome man with an acting reputation to protect. Hitchcock went along, and it seems to be acceptable all around by the time it was released.

    It's hard to find a decent "print" of this (a version from a good copy of the film, on DVD or streaming), but it has recently been restored and re-scored (orchestrated) and that's for sure the one to get. It is so far only a U.K. release, apparently even a blu-ray version is out (look for the red and black Constructivist cover). Criterion has not released a version. The original release has different scenes tinted blue or amber for greater effect and the usual version on Hitchcock DVDs and DVD sets in the U.S. is all black and white.

    So, if you don't like silent films and can't stand choppy or grainy or badly cropped releases of early films, don't see this. But if you can find the clean new restoration, or you just love Hitchcock, or if you really like silent films (they get more and more amazing the more you see), then see this! It's the director's first really characteristic feature.
    8blueapplejack

    Vintage Hitchcock at his best.

    In a quiet British town, a serial killer known as The Avenger is on the loose. Noted for his partiality for blondes, The Avenger has killed seven women-and shows no signs of stopping.

    Ivor Novello, as the title character, is a quiet and mysterious man who appears at a boarding house soon after the seventh murder is committed. The landlady reluctantly allows him to stay in an upstairs room, but becomes suspicious when she notices the young man turning over all the portraits of blonde-haired women in his room. It doesn't help the landlady's suspicions when the man begins showing an interest in her daughter, Daisy (naturally, a blonde). Daisy's boyfriend, a detective, is assigned to The Avenger's case, and (almost immediately) becomes suspicious of the lodger as well.

    Although The Lodger isn't Hitchcock's first feature, it most certainly is the film that launched his career as the "Master of Suspense." Noticeable Hitchcock trademarks are apparent here-namely the lodger's arrival and the ceiling/mirror scene.

    Loosely based on the infamous serial killer Jack the Ripper, this silent thriller is fast-paced with exceptional performances. The score, at times, seems out of place, but Hitchcock fans will nonetheless enjoy this film.
    Kirpianuscus

    special

    it is a real special film. first - for the status of early Hitchcock. the second - for Ivor Novello performance who seems be more than a good one but the right piece for the balance of film. the story is predictable and this fact did it charming. because old themes are mixed with smart images. because the romanticism and the touching scenes reminds the popular literature of XIX century. because it is fresh and naive and seductive and dark. and because it is a fascinating clue for discover the art of its director in new and interesting perspective.
    Devotchka

    Fun stuff, very Hitchcock!

    This movie is fantastic and fascinating mostly because of its director, but it would be fun either way. I'd say that it's better than many films of the same period, but not to the same extreme degree that Hitchcock's movies eventually achieved.

    You can see it's his work, though. Hitchcock knew that what made a suspenseful movie good had nothing to do with gore or loud noises, and this shows even in his early work. The Lodger has a distinctly Hitchcock feel to it--fun and scary--and it's interesting to see how he gets around the lack of sound, considering the fact that most (all?) of his other films were talkies.
    Snow Leopard

    Important Historically & Very Good In Its Own Right

    Usually remembered as Alfred Hitchcock's first thriller, "The Lodger" is also a very good film in its own right. Although the acting is somewhat dated, and although there is not a really appropriate musical score that has survived, it has the carefully crafted plot and suspense that Hitchcock would become famous for.

    The opening sequence uses the director's creative touches in setting the mood of a city terrorized by a mysterious killer, "The Avenger", who is targeting light-haired women. Then we meet the actual characters: an older couple and their daughter Daisy, and Daisy's policeman boyfriend. When a mysterious lodger appears and rents the family's extra room, his strange behavior begins to make them suspect that he might be the mad killer, even as he builds a close friendship with Daisy. As the story proceeds, tension and fear continue to build until an ending that is exciting, if somewhat melodramatic.

    Hitchcock shows his mastery of silent film technique in using a wide variety of camera techniques and props to communicate the emotions of the characters. The acting is mostly good, although Ivor Novello as "the lodger" overplays his role rather noticeably. This is the kind of movie that could really benefit from a good musical soundtrack, and the fact that it is exciting to watch even without an appropriate score shows the quality of Hitchcock's craftsmanship.

    Anyone who enjoys Hitchcock or silent films will definitely want to see "The Lodger".

    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      For the opening of this movie, Sir Alfred Hitchcock wanted to show the Avenger's murder victim being dragged out of the Thames River at night with the Charing Cross Bridge in the background, but Scotland Yard refused his request to film at the bridge. Hitchcock repeated his request several times, until Scotland Yard notified him that they would "look the other way" if he could do the filming in one night. Hitchcock quickly sent his cameras and actors out to Charing Cross Bridge to film the scene, but when the rushes came back from the developers, the scene at the bridge was nowhere to be found. Hitchcock and his assistants searched through the prints, but could not find it. Finally, Hitchcock discovered that his cameraman had forgotten to put the lens on the camera before filming the night scene.
    • Gaffes
      When The Lodger (Ivor Novello) and Daisy (June Tripp) are playing chess, but the board is set up inappropriately. The square in the right corner should always be white. In this case, the bottom-right square is dark (black). This is the most obvious when The Lodger (Ivor Novello) is poking the coals in the fireplace.
    • Citations

      Joe Betts: Does this lodger of yours mean any harm to Daisy?

      The Landlady: Don't be silly, Joe. He's not that sort. Even if he's a bit queer, he's a gentleman.

    • Crédits fous
      Closing credits: Thank you to everyone who supported the BFI's Silent Hitchcock restoration project.
    • Versions alternatives
      The original version of The Lodger directed by Alfred Hitchcock in 1926 was restored in 1999 in honor of the directors 100th anniversary. The film was restored by the British National Film & TV Archives and a new score by Ashley Irwin was commissioned by ZDF/ARTE (Germany) and premiered on August 13, 1999 (what would have been Hitchcock's 100th birthday).
    • Connexions
      Edited into Histoire(s) du cinéma: Une vague nouvelle (1999)

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    FAQ

    • How long is The Lodger: A Story of the London Fog?Alimenté par Alexa
    • What are the screen adaptations of Mrs. Belloc Lowndes's story 'The Lodger'?
    • Why is the print so bad?
    • Why is the music so bad?

    Détails

    Modifier
    • Date de sortie
      • 19 juin 1928 (France)
    • Pays d’origine
      • Royaume-Uni
    • Langue
      • Aucun
    • Aussi connu sous le nom de
      • The Lodger
    • Lieux de tournage
      • Victoria Embankment, Westminster, Londres, Angleterre, Royaume-Uni(opening scenes)
    • Sociétés de production
      • Gainsborough Pictures
      • Carlyle Blackwell Productions
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 12 000 £GB (estimé)
    • Montant brut mondial
      • 83 568 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 32 minutes
    • Couleur
      • Black and White
    • Mixage
      • Silent
    • Rapport de forme
      • 1.33 : 1

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