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It's London's autumn of terror – 1888 – when Jack the Ripper stalked the slums of Whitechapel to eviscerate gin-soaked prostitutes and shake the capital of the British Empire to its foundations. John Brahm's movie opens on the gas-lit and fog-wreathed cobblestones, evocatively shot by Lucien Ballard, in this umpteenth recension of Marie Belloc Lowndes' evergreen chiller The Lodger (Alfred Hitchcock did a silent treatment in 1927, and Jack Palance would star in Man in the Attic in 1954 , to name but two of its closest cousins).

The crafty Mrs. Lowndes may have been the first to use that surefire scare tactic `the call is coming from inside the house!' The gimmick of her story is that the fiend has a respectable face and may have taken lodgings under a respectable roof while its respectable occupants remain oblivious but imperiled.

Brahm's choice of lodger is Laird Cregar, whose enormous bulk – he was six-three and 300 pounds – made him look perpetually 45, though he was only 28 when he died, shortly after making this movie. (His last, released posthumously the following year, was the somewhat similar Hangover Square, which Brahm also directed). The rooms he takes (including an attic `laboratory' complete with gas fire for his experiments) belong to Cedric Hardwicke and Sara Allgood, whose niece Merle Oberon, a music-hall star, lives there as well.

When Laird is invited to attend one of Oberon's can-can numbers, he rants and raves about painted and powdered woman and finally erupts: `I can show you something more beautiful than a beautiful woman,' whereupon he produces a photograph of his dead brother, who came to ruin through consorting with wicked women (there's the merest insinuation of syphilitic insanity). Clearly, the lodger has unresolved issues.

The Ripper legend and Lowndes' telling of it are so familiar it needs no retracing, save to note that George Sanders plays the smitten Scotland Yard Detective and that Brahm delivers all the expected chills. But then this German emigrant always fared better with the spooky and the Victorian than with the hard-boiled and American. The Lodger counts among his finer hours-and-a-half.

This is a fictional tale of Jack the Ripper. It takes place in London in 1888. Jack the Ripper (Laird Cregar) is hiding out under the name Mr. Slade. He kills actresses only. He's renting two rooms from an elderly couple. Then he meets their young niece Kitty (Merle Oberon) who happens to be a dance hall girl. Will he kill her or can he be stopped?

VERY atmospheric with excellent direction by John Brahm. He makes great use of light and darkness and shoots this almost like a film noir. It looks great even though it was made on a low budget. The acting is great. Cregar is tall, imposing and menacing as the Ripper...but you also feel sorry for him. Oberon is excellent as Kitty. It's short (84 minutes) and well-done. Only one complaint (and it's minor)--You know Cregar is the Ripper from the very beginning so it robs any sense of mystery the story might have had. Still it's well worth seeing.

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.

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 Lodger feels way ahead of its time. Due to my exposure of modern day films, I kept waiting for a twist that never came. In that sense, it was a little underwhelming, but still worth your time if you enjoy black and white films or old school horror.

Laird Cregar was absolutely menacing here. Those close-up face shots towards the end will haunt my dreams. It's tragic that he passed away just age 31 - months after The Lodger was released.

It's a dark and atmospheric movie and captures some of the terror and hysteria of Jack the Ripper's London well. I did find myself laughing once or twice during scenes I probably wasn't supposed to - but that is forgivable in a film that manages to hold your interest throughout, despite being 75 years old.

With all England horrified by the fiendish exploits of Jack the Ripper, a London family slowly becomes concerned by the strange habits of THE LODGER who has rented rooms upstairs...

Atmospheric & creepy, this is one of the great suspense films. Based on the celebrated 1913 horror novel of Marie Belloc Lowndes, the movie memorably captures the panic & paranoia which reigned in London during the Ripper crimes. Using the full palette of shades available to black & white cinematography, the movie creates a chilling, eerie, atmosphere in which one can walk Whitechapel's narrow streets with the murderer.

Laird Cregar mesmerizes in the title role, his great, strange eyes following the viewer like those in the portraits he detests. He is the very picture of obsession & madness. Although lovely Merle Oberon & stalwart George Sanders do very well as the romantic leads, it is Cregar, his tremendous bulk moving silently through the shadows, who will remain in viewers' imaginations.

As the landlords, Sara Allgood & Sir Cedric Hardwicke are exceptional, portraying basically quiet people who come to the alarming conclusion that all is not right in their household. A solid group of character actors - Queenie Leonard, Helena Pickard, Anita Sharp-Bolster, Lumsden Hare - also give vivid performances. Movie mavens will recognize uncredited turns by Billy Bevan as a bartender and, behind the mustache, little Charlie Hall, veteran of many a Laurel & Hardy comedy, as the music hall comedian whose song is interrupted by the Ripper's last attack.

Special mention should be made of British Doris Lloyd (1896-1968), an excellent actress usually seen only in tiny bit roles, often uncredited. Here, unforgettably, she gets to deliver a short, sharp lesson in utter terror as the last of the Ripper's victims. Arriving in Hollywood during the Silent Era, Miss Lloyd would continue to grace small movie moments for decades to come.

Laird Cregar is one of the great What Ifs? of American cinema. Arising out of obscurity, this young actor quickly showed a remarkable talent and was quite soon given featured & starring roles, of which THE LODGER is the most memorable. Alas, his star was to blink out as fast as it rose. Wishing to move into leading & romantic parts, he subjected his 300-pound frame to an extreme crash diet. His body responded with a massive heart attack, killing him only a few months after THE LODGER's release. He was 28 years old.

The film gives a somewhat fictionalized account of the depredations of Jack the Ripper, his identity & the true names of his victims being the most obvious changes. From August 7th to November 10th, 1888, a killer who would become known as Jack the Ripper horrifically butchered seven prostitutes in London's East End, committing acts of such barbaric savagery on the bodies as to be positively bestial. He was never caught, despite a huge public outcry and tremendous efforts from Scotland Yard. In the intervening years there have been numerous suggestive solutions to his identity put forward, some quite fanciful, but no proofs have ever been posited. Jack took his terrible secrets with him to the grave.

Mr Slade (Laird Cregar) takes up a temporary residence in the home of Robert Bonting (Cedric Hardwicke). It is Victorian London and Jack The Ripper is murdering his victims. Ellen Bonting (Sara Allgood) suspects that Mr Slade might be the Ripper, while her niece Kitty (Merle Oberon) tries to make it as an actress in the theatre halls. What is Mr Slade's business.....?...

The film is set in a smoggy London where Jack The Ripper is at large and it has a claustrophobic atmosphere to it. The cast are good, especially Sara Allgood as the suspicious Ellen. Laid Cregar's character is definitely a misfit - no way would I have agreed to let him share a house with me. Merle Oberon is slightly naive to this complete freak while George Sanders as Inspector Warwick cruises through the film in his usual slick style. The film gets moving from the beginning and Laird Cregar succeeds in making it quite creepy as the Ripper's victims are continually discovered.

Victorian London, Whitechapple, and some maniac is slaughtering women with stage backgrounds. Could it be that the mysterious Mr. Slade who has rented the upstairs rooms from Mrs Burton, is the man known as Jack the Ripper? This part of London is cloaked in fog, the cobbled streets damp and bearing witness to unspeakable crimes, the gas lights dimly flicker as the British Bobby searches in vain for Bloody Jack.

The scene is set for what is to me the finest adaptation to deal with the notorious murderer, Jack the Ripper. A remake of the Alfred Hitchcock silent from 1927, this adaptation of the Marie Belloc Lowndes novel not only looks great (Lucien Ballard's photography creating fluid eeriness and film noir fatalism) but also chills the blood without ever actually spilling any. It's a testament to John Brahm's direction that the film constantly feels like a coiled spring waiting to explode, a spring that is realised in the form of Laird Cregar's incredibly unnerving portrayal of Mr Slade.

Laird Cregar, as evidenced here, was a fine actor in the making. Sadly troubled by his weight and yearning to become a true matinée idol, he crashed dieted to such a degree his poor 28 year old heart couldn't cope with the shock. After just 16 films, of which this was his second to last, the movie world was robbed of a truly fine performer, a sad story in a long line of sad incidents that taint the Hollywood story.

George Sanders and Merle Oberon (as police inspector and Slade's infatuation respectively) engage in a less than fully realised romantic strand, and Cedric Hardwicke dominates all the scenes that don't feature the might of Cregar, but really it's the big man's show all the way. Creepily enhanced by Hugo Friedhofer's score, The Lodger is a lesson in how to utilise technical atmospherics.

The moody atmosphere here hangs heavy and the sense of doom is palpable in the extreme, it comes as something of a relief when the ending finally comes, for then it's time to reflect and exhale a sigh of relief. Deviating from the novel, something which has over the years annoyed purists, The Lodger shows its hand very much from the off, yet this in no way hurts the picture. In fact if anything the exasperation at the supporting characters induces dry humour, The kind that comes in the form of nervous giggles out there in the dark, but rest assured, this is no comedy, it's a creepy classic from a wonderful era of film making. 9/10

You can smell the gas lamps and get lost in the fog in this forgotten classic. Top class cinematography, top class cast, top class direction. Special mention must go to Laird Cregar who make's a great villain. Recommended.

The main problem with The Lodger is that there's no suspense in the storyline, so it lies very flat. Sara Allgood and Cedric Hardwicke are a married couple who run a boarding house, and she impulsively rents a room to a very creepy man, Laird Cregar. Coincidentally, he's desperate for shelter immediately following one of the Jack the Ripper killings. Coincidentally, he's never around when one of the killings take place, he has a strong emotional aversion to actresses, and he's seen burning his clothing to get rid of mysterious stains. Where's the suspense?

George Sanders plays a policeman, so I thought there might be a chance that there would be a huge plot twist and Laird was innocent; Merle Oberon turns to George, comforted by his uniform, only to be alone with him and feel his fingers close in around her neck! But no, there is no great twist. This isn't meant to be a spoiler, but instead to prepare you for the type of thriller it is. George gets to play a good guy for one of the few times in his career, and Laird is definitely and obviously the bad guy. The suspense comes in whether or not George will find out before Laird kills Merle?

While Merle usually got to wear beautiful clothes in her movies (was this in her contract?), in this movie, she plays a can-can dancer and got to show off her very lovely legs. She doesn't have much acting to do, but then again, nobody else does either. The Lodger is definitely a B-picture, the type to turn on when you're very, very tired on Halloween and still want the television running while you fall asleep.

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!!

I've seen this several times on TV. It's a fictionalized drama telling the story of Jack the Ripper, the uncaught mysterious serial murderer of London's Whitechaple district of the late 1880's. Director John Brahm directs Merle Oberon and George Sanders and Laird Gregar as the mysterious lodger. Brahm brings great atmosphere into this adaptation of the Marie Belloc Lowndes novel thanks to the cinematography of Lucien Ballard. Great art direction and set direction in this murder mystery/suspense thriller. Brahm would go on to have a successful television directorial career in the USA in the 50's and 60's and did many episodes for the Twilight Zone. Afred Hitchcock Presents, Boris Karloff's Thriller and the Outer Limits among other shows and his many movies. This is a good tale on the Jack the Ripper story and gets a little bogged down at times and Cregar is creepy as The Lodger. I would give this a 7.5 out of 10.

The Lodger has been made several times since Alfred Hitchcock directed the original in 1927; and this is the second of the remakes. It's difficult to compare this film to the original as they're fundamentally very different; owing to the fact, of course, that the original was a silent picture and this one has sound. I will, however, say that Alfred Hitchcock's film is the more effective telling of the story and this one has a number of problems, mostly owing to the characters central to the story. The plot is very simple. The scene is set in London during the time of Jack the Ripper. Around the time he's tearing his way through the women of the city, a landlady and landlord have taken in a lodger named Mr Slade. He's a very strange man; a sinister misdemeanour and the fact that he likes to go out walking for seemingly no reason in the middle of the night being just the tip of the iceberg. Naturally, it's not long before Mr Slade's behaviour is likened to Jack the Ripper and his landlady begins to suspect that he's the killer.

All the main characters in this film are far too over the top. Laird Cregar takes the role of the lodger; and while it's undoubtedly a commanding and captivating performance, he's simply too sinister and weird, (not to mention not very good at covering his tracks) and wouldn't have been more suspect if he actually had "Jack the Ripper" tattooed on his forehead. By contrast, his landlords; played by Cedric Hardwicke and Sara Allgood are two of the slowest individuals to grace cinema. Sure they get an inkling of their lodger's true identity fairly early on; but it takes them a long time to come to an all too obvious conclusion. All this stuff really brought the film down for me; but rating purely in terms of cinema, The Lodger fares a little better. Director John Brahm expertly captures the underbelly of London and the film has a really great atmosphere. Naturally, the film is not graphic; but we do get treated to a few unsettling murder scenes also. Overall, I do have to say that I enjoyed this film in spite of my problems with the characters and would rate it as worth seeing.

Merle Oberon, George Sanders, Sara Allgood, Sir Cedric Hardwicke, and Laird Cregar (as the title role) star in what must be the definitive film adaptation of this story, claiming to be based on the Jack the Ripper legend. I remember seeing the Hitchcock silent, and while it was good, it didn't capture the London-at-night atmosphere and the dark shadows, and it didn't have Laird Cregar, and his intense desperation. He was excellent! I can only imagine that he was probably a nice guy in real life, but his disturbing performance is practically the whole show. Merle Oberon is lovely and all, but her role is really a thankless or throw-away role, with very little to do but to just be there.

Laird Cregar (and the movie) allows us to enter his mind and understand his motivations and even to sympathize with him. We're allowed to see things through his eyes. Especially at the end, when he's cornered by the crowd, when he looks so demented to the crowd, we see the crowd from his perspective. They must look so frightening to him.

One quick note: Sara Allgood also was in "How Green was My Valley," and she deserves some recognition for her great part in "The Lodger" and her prolific career. She was an actress who worked without much fanfare, but always gave great performances.

See this version of "The Lodger" and don't be taken in or fooled by imitations. Stay away from the new one, and don't even be curious about "Man in the Attic" with Jack Palance, a vastly inferior rip-off. "The Lodger" can be found on a Fox Horror 3-movie collection, and on TCM from time to time. Discover this version of "The Lodger," and you won't be disappointed, unless you want today's blood and gore. Its less-is-more technique goes a long, shiny way with your imagination.

A landlady (Sara Allgood) and her husband Robert Bonting (as Sir Cedric Hardwicke) suspect new lodger (Laird Cregar) is Jack the Ripper. Cregar stars a man who checks into a boardinghouse and becomes the object of scrutiny when a series of murders plague the area . As in the Whitechapel slum , a hulking figure prowls in the obscurity , a woman's screams , while the camera stares blindly into a dark hole in the wall . Probing eyes that marked the woman he loved for death! The Story of Jack the Ripper .Terror...To freeze Your Heart ! Romance ...To Warm it! Fascinating beauty ...that marked her for Death ¡

Nice thriller remains a timeless piece on surprise , showcasing the unique visual and stylistic tricks that would mark John Brahm's work . Tense film about murders with thrills , chills , suspense and an amazing final . This intriguing and exciting story is based on a novel from Marie Belloc Lowndes and attractive script by Barre Lyndon , dealing with a serial killer -Jack the Ripper- in London executing his some grisly killings . One of the great evocations of that strange lost city of Hollywood imagination , the fogbound London of Jack the Ripper . Laird Cregar gives an awesome , remarkable portrayal of perverted sexuality and a psychologically unstable man , at once oddly stirring and horrific .This is a thrilling story about astonishing murders in Whitechapel whose elusive killer results to be the famous Jack the Ripper , it has two converging plot lines between Merle Oberon's spectacular musical numbers and Laird Cregar's wanderings . Story's core is interesting and storylne is dense with information and drama . Good performance by the gorgeous Merle Oberon , the always perfect George Sanders , as well as approppriate acting from secondaries as Sara Allgood and Cedric Hardwicke. Stunningly photographed by Lucien Ballard and adequate musical score Hugo Friedhofer . This is one of the rate movies in which everything pulls together to create a weirdly compulsive atmosphere . The motion picture was compellingly directed by John Brahm . He directed a few but good films , such as : Undying monster , Wintertime , Guest in the House , Singapore , Miracle of our Lady of Fatima , Face to Face , among others.

The Jack the Ripper character has been adapted on several occasions for cinema and television from the silent as ¨Pandora's box (1929) ¨ , multiple versions of ¨Lulu¨ a prostitute killed by Jack , ¨Murder by Decree¨ (1979) by Bob Clark with Christopher Plummer, James Mason , Anthony Quayle , John Gielgud , Susan Clark , ¨From hell (2001)¨ by Albert Hughes with Johnny Depp , Heather Graham , Ian Holm and for TV in which appears as character in numerous series as ¨Jack the Ripper (1988)¨ played by Ray McNally and recently in ¨Sanctuary ¨ played by Christopher Heyerdahl , ¨The Lodger¨2009 David Ondaatje with Simon Baker , Alfred Molina , Hope Davis , and several others .

Circumstances have forced the Bunting family to take in The Lodger at the same time in 1888 that the notorious Jack The Ripper was terrorizing all of London, particularly in the Whitechapel District where the Buntings reside. It should have made them think twice about taking in a boarder who is a complete stranger.

Speculation about the Ripper murders has had professional and amateur criminologists going for years. There is no definitive work on Jack The Ripper because his identity is officially unknown. The Lodger is a work of novelist Maria Belloc Lowndes and her speculation is as good as anyone's including mine.

What she did do and what 20th Century Fox did as well is give a great role to Laird Cregar, sad to say his next to last. Cregar is a mysterious medical student whose nocturnal wanderings have everyone wondering. Who's wondering most of all is Scotland Yard Inspector George Sanders.

The Buntings, Cedric Hardwicke and Sara Allgood, think nothing of him at first, but his attentions to their actress daughter Merle Oberon are creeping them out. Not to mention the unease that she is slowly feeling around Cregar.

Director John Brahm got some great performances out of his cast and really caught the mood of Victorian London. But Cregar will arouse all kinds of conflicting emotions in you. You will hate, loath, and pity him all at once, not an easy thing for an actor to maintain, but Cregar pulls it off.

The Lodger is a remake of a film young Alfred Hitchcock did as a silent. They're both good, but I give the edge to this one.

I've tried watching Hitchcock's silent Lodger original several times, but never really clicked with it; it seems to me its chief interest lies in the camera innovations introduced rather than the story itself, which is not up to much.

This 1944 remake hasn't really improved a great deal on the story, which is still fairly uninvolving for the most part, until the rousing finale, but it makes up for it somewhat with the central haunted performance of Laird Cregar (who starved himself to death the very same year) and the first-rate atmosphere.

As with Hangover Square (shot back-to-back with much the same cast and crew) the film opens with the camera swooping and creeping through echoey Victorian London streets, filled with thick fog and impending danger. Magnificent. Unfortunately after that it settles down into too much drawing room talkiness and not enough thrills or plot twists, and after that it's pretty much a straight line of padding until the splendid ending, with Cregar's character being hunted down and closed in on, that same creeping camera closing in on his bloodied face, the sound of him breathing hard eclipsing all else.

If the whole film was like that it would be a masterpiece, the equal of The Thirty-Nine Steps or The Third Man. And it really is a pity it's not.