Jack l'éventreur

Though heavy hints suggest the "Jack the Ripper" murders, this name is deemphasised in the film. Here the killer is known mainly as "The Ripper" and possibly for censorship reasons his victims are identified in dialogue as "actresses" and "showgirls" but never "prostitutes".

Many of the victims are downtrodden cockney women who may once have danced or acted on stage but are now reduced to street busking and begging to support their rowdy drinking sessions in cosy East End pubs. Save for their career designation as given in the dialogue, the film is clearly suggesting prostitutes as victims, and the killer is shown to find showgirls immoral. (It is also important to note the great pains made by the script to show the victims as kind and generous and in no way deserving of their fate.)

In any event this is a well-made film with excellent black and white photography, good camera work and some interesting images. The film is foremost entertainment, it is not a detailed documentary of the "Jack the Ripper" crimes, nor is it a mystery. Only a rudimentary exploration of the killer's psyche is made, and much screen-time is lavished on showcasing song and dance numbers performed by Merle Oberon in her leading role as a gaily dressed showgirl. Indeed the police investigation takes second-place to the fluffy romance between Oberon's character and a police detective, and the final twist involving the killer's possible left-handedness a rudimentary boy's-own-adventure style plot twist.

"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.

This is a great Victorian melodrama. Everything about this film is superb. The late Laird Cregar is just outstanding in the title role and Merle Oberon has never looked lovelier It's funny how you can see a film when you are about twelve years old and it sticks in your brain because it is so good and this one is one of the best. I highly recommend this film.

From the first few frames, as the title credits wash in and out like the tide, this is a superb film, full of fog, shadows, suspense, and great performances from Cregar (brilliant in this), Oberon, Hardwicke and others. It manages to be chilling and moving at the same time, and the ending seems incredibly sad and poetic after what has gone before. This makes it all the more memorable. Sadly not on video at the moment unless you dig around, but deserves to be better known than perhaps it is. In comparison with the silent version by Hitchcock, this is more deranged and evil than Novello's cuckoo clocks and wild eyes, and also has a more logical conclusion that the viewer was sure of from early on. The strongest scene is the one in Oberon's dressing room quite near the end, which gives the viewer as much of a fright as it gives her. After that it is somehow reminiscent of Phantom of the Opera, not without advantage. Well worth a look.

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.