diff --git "a/4afd82c6-af57-41b2-9848-f0ec9479efd5.json" "b/4afd82c6-af57-41b2-9848-f0ec9479efd5.json" new file mode 100644--- /dev/null +++ "b/4afd82c6-af57-41b2-9848-f0ec9479efd5.json" @@ -0,0 +1,40 @@ +{ + "interaction_id": "4afd82c6-af57-41b2-9848-f0ec9479efd5", + "search_results": [ + { + "page_name": "The Lodger (2009 film) - Wikipedia", + "page_url": "https://en.wikipedia.org/wiki/The_Lodger_(2009_film)", + "page_snippet": "Writing in Variety, John Anderson stated "The Lodger seems intended to leave its audience as baffled as the London police were in 1888. Never mind that it rains constantly along Ondaatje\u2019s Sunset Strip, or that the melodrama arrives like a monsoon. What needed to be a taut, structurally sound psycho-thriller instead malfunctions from the start." Joe Neumaier wrote in the New York Daily News, "If you think you're tired of tedious thrillers, this B-movie ...Writing in Variety, John Anderson stated \"The Lodger seems intended to leave its audience as baffled as the London police were in 1888. Never mind that it rains constantly along Ondaatje\u2019s Sunset Strip, or that the melodrama arrives like a monsoon. What needed to be a taut, structurally sound psycho-thriller instead malfunctions from the start.\" Joe Neumaier wrote in the New York Daily News, \"If you think you're tired of tedious thrillers, this B-movie has a cast that looks like they slept right through it... Joe Neumaier wrote in the New York Daily News, \"If you think you're tired of tedious thrillers, this B-movie has a cast that looks like they slept right through it... Filled with second-rate Brian DePalma twists, noirishly blurred lights and usually solid actors mouthing potboiler brine, The Lodger resembles bottom-shelf '80s dreck.\" She also made up the imaginary life that her son lived, and the lodger, who was a romantic interest for her. Though the police and the press accept that this is the truth and Ellen is the killer, Manning does not believe it and the last scene is Malcolm, at a new residence in Santa Monica, looking for new lodgings. ... Rebecca Pidgeon as Dr. Jessica Westmin, an FBI profiler assisting with the case \u00b7 Lancer Dean Shull as the Internal Affairs Officer who suspends Chandler Manning from his duties. She stops and turns when she hears the sirens but the ripper has moved to the side and attempts to attack her when she stops. Manning sees the attack and runs off after the ripper, while Wilkenson stays with Amanda. The ripper is chased into the Bunting home where Manning, the Captain and several officers enter. Wilkenson is left trying to solve the case without the assistance of Manning and when he sees Manning's name on a suspect list, he goes to the Captain. The Captain believes Manning is delusional and psychotic, and not only committed the murders 7 years ago but is obsessed with Jack the Ripper and is committing murders again, just so he can solve them. Manning realizes that the Captain suspects him and observes the Captain and officers searching his apartment, and that they have taken the letter he had stolen from evidence.", + "page_result": "\n\n\n\nThe Lodger (2009 film) - Wikipedia\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJump to content\n
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The Lodger (2009 film)

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From Wikipedia, the free encyclopedia
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2009 film by David Ondaatje
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The Lodger
Directed byDavid Ondaatje
Written byDavid Ondaatje
Based onThe Lodger
1913 novel
by Marie Belloc Lowndes
Produced byDavid Ondaatje
Michael Mailer
StarringAlfred Molina
Rachael Leigh Cook
Hope Davis
Simon Baker
CinematographyDavid A. Armstrong
Edited byWilliam Flicker
Music byJohn Frizzell
Production
company
Distributed bySamuel Goldwyn Films[1]
Release date
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  • January 23, 2009 (2009-01-23)
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Running time
95 minutes
CountryUnited States
LanguageEnglish
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The Lodger is a 2009 mystery/thriller film directed by David Ondaatje and starring Alfred Molina, Hope Davis and Simon Baker. It is based on the 1913 novel The Lodger by Marie Belloc Lowndes, filmed previously by Alfred Hitchcock in 1927, by Maurice Elvey in 1932, by John Brahm in 1944, and as Man in the Attic (1953) directed by Hugo Fregonese.\n

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Synopsis[edit]

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This section needs expansion. You can help by adding to it. (February 2015)
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The film follows two parallel stories, one being about a troubled detective (Molina) who plays a cat-and-mouse game with an unknown killer and the other being about an emotionally disturbed landlady and her relationship with an enigmatic \"lodger\" (Simon Baker).[2][3]\n

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Plot[edit]

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The story opens with a brutal murder of a prostitute taking place on Sunset Boulevard, in Hollywood. The detective in charge is Chandler Manning and his rookie assistant is Street Wilkenson. They initially believe this is a stand-alone murder, but when a second prostitute is killed, the medical examiner says the two murders are not only eerily similar to two murders that took place 7 years prior, but they are exact copies of the first two Jack the Ripper murders in 1888 London. Since Detective Manning had caught who he thought was the murderer of the previous crimes, they now realize the wrong person was tried, prosecuted and executed. Manning is also dealing with a wife who tried to commit suicide, and his estranged daughter, Amanda, who blames him for the attempt.\n

In a second story line, a couple is looking to rent their guest house when a passerby comes to the door and says he wishes to rent the room. Ellen Bunting takes the lodger, Malcolm Slaight, to see the room and he immediately agrees to rent the guest house but says several times he cannot be disturbed since he is a writer, and needs complete quiet. When Ellen's husband, Joe, asks her why the \"for rent\" sign has been removed, she says she has rented the room but the lodger needs to be left alone. Joe does not believe she has rented the guest house because he never sees anyone coming or going from the premises, and because he knows his wife has episodes where she imagines things and needs to take medication. Ellen begins to have feelings for the lodger and she goes out of her way to see him. She catches him in their kitchen late one night and when he says he was looking for scissors, she reaches across him to pick up and hand him a pair, but he just takes them and walks out.\n

The ripper copycat then commits two more murders, but this time he is seen by a witness who describes a man with a long black coat and a black bag. Manning notices a garbage can near the murder site with BATTY written on it; when he opens the lid, he finds a pair of bloody underwear that belong to one of the victims. Wilkenson is suspicious of how he knew there was something in the can, but Manning references the previous ripper murders and how they found a portion of clothing from one of the victims. Manning then goes to the old case files for the man he had previously arrested for the murders 7 years ago, and takes evidence of a letter that was written to him after the arrest had taken place. While there, he pulls his gun on the evidence clerk and tells him to stop following him.\n

Ellen continues to make contact with the lodger by taking him breakfast and tea - anything to be near him. On one visit she sees a pair of her husband's boots drying on a newspaper, and Malcolm states they got muddy when he walked in the garden. The lodger then kisses her, and Joe can be seen in the house, beginning to head for the guest house. As he is nearing, Ellen opens the door and walks out with the boots, saying she was cleaning them. She sees a picture in the newspaper of a footprint taken of boots that is linked to the crime, and puts the sole of the boot on top of the picture, but then does nothing despite realizing that they are the same size. Joe, getting tired of what he thinks is Ellen's hallucination, forces her next door and tells her he doesn't want to hear another word about the imaginary lodger if they see no one in the room. When the door opens, no one is there and Ellen is left sitting in the rain while Joe disgustedly walks back to the house.\n

Manning and Wilkenson begin investigating the suspects that are known to frequent the area where the killings are taking place, and this brings them into contact with Joe Bunting. They visit the Bunting home, and Ellen acts suspiciously when she takes them to see the guest house. They leave to get a warrant to search the place, but Manning is pulled into a meeting with the Captain of the precinct and the Mayor. Since he threatened the evidence clerk while at the station, they feel this - combined with his personal life - is causing him to lose touch with reality and they place him on suspension. Det. Wilkenson is left trying to solve the case without the assistance of Manning and when he sees Manning's name on a suspect list, he goes to the Captain. The Captain believes Manning is delusional and psychotic, and not only committed the murders 7 years ago but is obsessed with Jack the Ripper and is committing murders again, just so he can solve them. Manning realizes that the Captain suspects him and observes the Captain and officers searching his apartment, and that they have taken the letter he had stolen from evidence.\n

Ellen, believing Malcolm is guilty but not caring, goes to the guest house to wipe it clean of any evidence he was ever there, and disturbs a cabinet, causing a gush of red liquid that appears to be blood to spill from it. Malcolm walks in then and confronts her about why she is there and says a bottle of red ink must have spilled. Ellen goes to the house to wash her hands and Malcolm walks in, carrying a black bag. Ellen - realizing he is either about to leave, or worse, kill her - says she will not tell anyone what she has seen and will do anything to protect him. Malcolm appears to let her take the bag from his hand. Meanwhile, Joe is at work and finds that the police have been there to talk to him and becomes agitated.\n

Manning goes to Wilkenson to ask him for help, as there has been yet another murder, leaving only one woman left to be killed before the murderer disappears. Wilkenson agrees and they get the warrant they need to search the Bunting's guest house but initially find nothing. Manning then realizes the cabinet has not been opened and when they do, in it are maps with red ink and prints on them. Wilkenson and the Captain both look suspiciously at Manning because they believe he is planting evidence, and Wilkenson cuffs Manning to escort him in, though they also place a call to pick up Joe at work. When the police arrive, they realize Joe is no longer there.\n

We see Manning's daughter, Amanda, leaving her dorm at college and being observed by someone in the shadows. Manning notices two maps at the scene, one of London during the Ripper murders and another of Hollywood, marking the current killing. He sees that the marks on the map line up for the past murders, except now there is a new mark on the Hollywood map that does not line up, and it is exactly where his daughter's dorm is. He talks Wilkenson into removing the cuffs and they head off to grab Amanda, but she is walking down the street, headed to a local venue. She is being followed by someone in a long black coat, wearing boots and begins to run.\n

She stops and turns when she hears the sirens but the ripper has moved to the side and attempts to attack her when she stops. Manning sees the attack and runs off after the ripper, while Wilkenson stays with Amanda. The ripper is chased into the Bunting home where Manning, the Captain and several officers enter. We see Ellen in the living room, sitting in a rocking chair, wielding a long, curved knife. She drops the knife when they enter and go upstairs; they find Joe has been cut up very badly but is still alive.\n

The ending provides an explanation for the killings; Ellen became schizophrenic by the death of her baby in child birth 8 years ago, and this sent her into a spiral of killing. She also made up the imaginary life that her son lived, and the lodger, who was a romantic interest for her. Though the police and the press accept that this is the truth and Ellen is the killer, Manning does not believe it and the last scene is Malcolm, at a new residence in Santa Monica, looking for new lodgings.\n

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Cast[edit]

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Storyline 1:\n

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Storyline 2:\n

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Release[edit]

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The film premiered on January 23, 2009 in limited release in New York and Los Angeles,[4] and was released on DVD on February 10, 2009.[2]\n

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Reception[edit]

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The film drew negative reviews from most critics. The consensus on Rotten Tomatoes is \"An accomplished cast can't save a derivative suspense flick that manages to confuse and bore rather than thrill.\" It received a 21% rating on Rotten Tomatoes based on 24 critic reviews.[5] Metacritic (which uses a weighted average) assigned The Lodger a score of 17 out of 100 based on 8 critics, indicating \"overwhelming dislike\".[6]\n

Writing in Variety, John Anderson stated \"The Lodger seems intended to leave its audience as baffled as the London police were in 1888. Never mind that it rains constantly along Ondaatje\u2019s Sunset Strip, or that the melodrama arrives like a monsoon. What needed to be a taut, structurally sound psycho-thriller instead malfunctions from the start.\"[7] Joe Neumaier wrote in the New York Daily News, \"If you think you're tired of tedious thrillers, this B-movie has a cast that looks like they slept right through it... Filled with second-rate Brian DePalma twists, noirishly blurred lights and usually solid actors mouthing potboiler brine, The Lodger resembles bottom-shelf '80s dreck.\"[8] Robert Abele wrote in the Los Angeles Times, \"This strained, empty effort doesn't work as homage or update, and in its darkly violent sensibility has neither the glamour of Brian De Palma's referential nightmares or even the narrative fuel of the serial-killer-obsessed procedurals that dominate TV.\"[9] Ben Walters attacked the film in Time Out, writing \" the real crime is the travesty writer-director David Ondaatje perpetrates on Alfred Hitchcock\".[10]\n

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References[edit]

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  1. ^ a b \"The Lodger (2008)\". AFI Catalog of Feature Films. Retrieved 20 February 2021.\n
    2. \n
  2. ^ a b c d e f g h i Turek, Ryan. \"The Lodger Redo Goes to DVD\". Shocktillyoudrop.com. Archived from the original on 2012-04-02. Retrieved 2012-08-06.\n
    3. \n
  3. ^ a b c Tatiana Siegel (2007-10-25). \"Molina, Davis join 'Lodger' redo\". Variety. Retrieved 2008-10-21.\n
    4. \n
  4. ^ Turek, Ryan (2008-12-23). \"Lodger Goes Theatrical in January\". Shocktillyoudrop.com. Retrieved 2012-08-06.\n
    5. \n
  5. ^ \"The Lodger (2009)\" – via www.rottentomatoes.com.\n
    6. \n
  6. ^ \"The Lodger (2009)\". Metacritic. Fandom, Inc. Retrieved December 21, 2023. \n
    7. \n
  7. ^ Anderson, John (January 20, 2009). \"The Lodger\".\n
    8. \n
  8. ^ \"More movie reviews: 'The Dark Knight,' 'Crips and Bloods,' 'The Lodger'\". nydailynews.com.\n
    9. \n
  9. ^ \"Entertainment & Arts\". Los Angeles Times.\n
    10. \n
  10. ^ \"The Lodger\".\n
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External links[edit]

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Retrieved from \"https://en.wikipedia.org/w/index.php?title=The_Lodger_(2009_film)&oldid=1209927395\"
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\n\n\n\n", + "page_last_modified": " Mon, 11 Mar 2024 14:08:22 GMT" + }, + { + "page_name": "The Lodger (1944) - Turner Classic Movies", + "page_url": "https://www.tcm.com/tcmdb/title/81666/the-lodger/", + "page_snippet": "The inhabitants of a boarding house fear the new lodger is Jack the Ripper.The first film version, Alfred Hitchcock's The Lodger (1927), keeps the contemporary setting, the \"Avenger\" name, and works as a case study in paranoia. Hitchcock's lodger is no killer, and the audience's belief otherwise is used to demonstrate how easily we are led astray by fear. Warwick recognizes the youth as a once-promising artist who was led into a dissipated life by actress Lizzie Turner, who was the Ripper's first victim. Fearing that Kitty is in danger, Warwick dashes to the theater, but Slade has already made his way to Kitty's dressing room, where he threatens her with a knife. The terrified Kitty screams, and Warwick bursts in and shoots Slade. The wounded lodger climbs up the side of the theater and from the catwalk above, attempts to crush Kitty with a sandbag, but she is saved by Daisy. His first order of business is to turn to the wall all of the pictures-he hates the sight of beautiful women, you see. He slinks out late at night for reasons unknown, and returns only to burn his blood-stained clothing, interrupted periodically with rants about how the evil needs to be cut out of people. Such a lodger naturally draws suspicion on himself-anyone would be creeped out by such a guest. His crazed performance brings The Lodger to a new level. The screen fairly oozes sticky sweat every time he's on. Cregar's anxiety-laden portrayal of psychosexual torment was years ahead of its time, and pushed past censors one of the screen's first and most influential depictions of psychological horror.", + "page_result": "\n \n \n \n \n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n The Lodger (1944) - Turner Classic Movies\n \n \n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n \n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n \n
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The Lodger

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Brief Synopsis

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\n The inhabitants of a boarding house fear the new lodger is Jack the Ripper.\n
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Cast & Crew

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\n John Brahm\n

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Director
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\n Merle Oberon\n

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Kitty Langley
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\n George Sanders\n

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Inspector John Warwick
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\n Laird Cregar\n

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The Lodger, Slade
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\n Sir Cedric Hardwicke\n

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Robert Burton
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\n Sara Allgood\n

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Ellen Burton
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The Lodger - Movie Poster
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Ben Mankiewicz Intro -- The Lodger (1944)
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Ben Mankiewicz Intro -- The Lodger (1944)
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Lodger, The (1944) - (Textless Trailer)
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Film Details

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Genre
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Suspense/Mystery
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Thriller
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Release Date
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\n Jan\n 7, \n 1944\n
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Premiere Information
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\n not available\n
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Production Company
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\n Twentieth Century-Fox Film Corp.\n
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Distribution Company
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\n Twentieth Century-Fox Film Corp.\n
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Country
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\n United States\n
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Screenplay Information
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\n Based on the novel The Lodger by Marie Belloc Lowndes (London, 1913).\n
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Technical Specs

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Duration
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\n 1h 24m\n
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Sound
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\n Mono\n
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Color
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\n Black and White\n
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Theatrical Aspect Ratio
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\n 1.37 : 1\n
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Film Length
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\n 7,380ft\n (9 reels)\n
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Synopsis

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In 1889, former businessman Robert Burton and his wife Ellen are forced by financial necessity to take a lodger into their home near Slade Walk in London. In response to their advertisement, a mysterious man calling himself Slade rents the room from Ellen, and, telling her that he is a pathologist, also rents the attic for his experiments. Slade cautions Ellen that he keeps irregular hours and asks her to treat him only as a lodger, not a guest. The following week, Daisy, the Burtons' maid, refuses a pass to the theater to see the London debut of the Burtons' niece, music hall entertainer Kitty Langley. Daisy explains that she is too terrified to venture near a theater due to the recent string of murders of actresses. The killer, who has thus far eluded Scotland Yard, has been dubbed \"Jack the Ripper\" due to his cruel actions, and has killed four women in the Whitechapel area. Determined to support their niece, Robert and Ellen, however, go to the theater, where Kitty is visited backstage by former actress Annie Rowley. Kitty gives Annie, who is down on her luck, a sovereign, then goes onstage and dazzles the receptive audience. After the show, Kitty is questioned by Inspector John Warwick of Scotland Yard, who informs her that Annie has just been murdered in Whitechapel. Kitty assures Warwick that although she gave Annie money, they were not close, and Sheridan, the theater's doctor, speculates that the mutilating killer must be a medical man. The next day, Ellen and Kitty are upset to learn that Slade burned his small, black bag after reading a newspaper account of the murder, in which a witness described the killer as carrying a similar bag. Although Robert placates them, Kitty follows Slade to the University Hospital and discovers that he does work in the pathology lab there. Slade's sincere manner reassures Kitty, and as time passes, she becomes fond of her aunt's odd, bible-reading lodger. Warwick, who has fallen in love with Kitty, keeps a close eye on her as she continues her successful career, which includes plans to open a new theater in Whitechapel. On the night of another murder, Kitty sees Slade burning his blood-stained overcoat in the kitchen fire, but is satisfied by his explanation that the garment was contaminated in a pathology experiment. Later, Kitty asks Slade to attend her show at the new theater, and he explains his aversion to actresses, stating that it is wrong for women to exhibit their beauty on the stage and thereby lead a man to his destruction. As Slade rambles on about the necessity of cutting out the evil in beauty, Kitty assumes that he is merely speaking philosophically. Warwick arrives and offers Kitty a police escort to the theater, then covertly obtains a sample of Slade's fingerprints, as the lodger's unusual hours and behavior have raised his suspicion. The fingerprints, from Slade's right hand, do not match the fingerprints found at one of the murder scenes, but Warwick speculates that the fingerprints must be from the Ripper's left hand. After Slade leaves for the theater, Warwick searches his possessions and finds a miniature portrait of his dead younger brother. Warwick recognizes the youth as a once-promising artist who was led into a dissipated life by actress Lizzie Turner, who was the Ripper's first victim. Fearing that Kitty is in danger, Warwick dashes to the theater, but Slade has already made his way to Kitty's dressing room, where he threatens her with a knife. The terrified Kitty screams, and Warwick bursts in and shoots Slade. The wounded lodger climbs up the side of the theater and from the catwalk above, attempts to crush Kitty with a sandbag, but she is saved by Daisy. Warwick and his men then chase Slade until he jumps from the building into the Thames, and as his body sinks, Kitty remembers Slade's comments about the soothing qualities of deep, dark water.

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Director

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\n John Brahm\n

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Director
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Cast

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\n Merle Oberon\n

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Kitty Langley
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\n George Sanders\n

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Inspector John Warwick
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The Lodger, Slade
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\n Sir Cedric Hardwicke\n

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Robert Burton
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Ellen Burton \n
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Superintendent Sutherland \n
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Daisy
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Jennie
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Sergeant Bates \n
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Annie Rowley \n
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Dr. Sheridan \n
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Sir Edward Willoughby \n
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Harris \n
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Harold \n
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Charlie \n
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Wiggy \n
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Publican
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Conductor \n
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Conductor \n
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Conductor \n
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Boy \n
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King Edward \n
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Porter \n
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Crew

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\n Lucien Ballard\n

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\n John Paul Lock Barton\n

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\n Robert Bassler\n

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Music
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Costumes
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Set Decoration
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Photo Collections

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1 Photo
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The Lodger - Movie Poster
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Here is the American one-sheet movie poster for Fox's The Lodger (1944), starring Merle Oberon, Laird Cregar, and George Sanders. One-sheets measured 27x41 inches, and were the poster style most commonly used in theaters.
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Videos

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Trailer

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\n Lodger, The (1944) - (Textless Trailer)\n Laird Cregar plays The Lodger (1944), who may or may not be Jack The Ripper, in the most successful sound version of the story.\n
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Hosted Intro

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Intro Aired:\n Apr 2018
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\n Ben Mankiewicz Intro -- The Lodger (1944)\n Ben Mankiewicz introduces The Lodger, 1944.\r\n\n
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Intro Aired:\n Mar 2016
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\n Ben Mankiewicz Intro -- The Lodger (1944)\n Ben Mankiewicz introduces The Lodger, 1944.\r\n\n
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Film Details

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Genre
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Suspense/Mystery
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Thriller
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Release Date
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\n Jan\n 7, \n 1944\n
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Premiere Information
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\n not available\n
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Production Company
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\n Twentieth Century-Fox Film Corp.\n
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Distribution Company
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\n Twentieth Century-Fox Film Corp.\n
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Country
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\n United States\n
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Screenplay Information
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\n Based on the novel The Lodger by Marie Belloc Lowndes (London, 1913).\n
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Technical Specs

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Duration
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\n 1h 24m\n
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Sound
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\n Mono\n
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Color
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\n Black and White\n
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Theatrical Aspect Ratio
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\n 1.37 : 1\n
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Film Length
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\n 7,380ft\n (9 reels)\n
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Articles

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The Lodger (1944)

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December 12, 2008
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\n \n \n Imagine you live in London in the time of Jack the Ripper. Mindless fear blankets the city as thick as fog. New victims are claimed by the killer as the police continue to display helplessness and failure. One night, just after the latest brutal killing, a stranger appears on your doorstep. A jittery man whose name suspiciously is the same as the street across the way, he wants to rent a room. He doesn't much care about the amenities, he just wants the room, and fast. He's ready to pay handsomely for it, and upfront. His first order of business is to turn to the wall all of the pictures-he hates the sight of beautiful women, you see. He slinks out late at night for reasons unknown, and returns only to burn his blood-stained clothing, interrupted periodically with rants about how the evil needs to be cut out of people.

\r\n\r\n\tSuch a lodger naturally draws suspicion on himself-anyone would be creeped out by such a guest. But in these dark times, as paranoia replaces logic, you have to remind yourself that there are logical explanations for all of this, that you have no proof that the man in the attic is Jack the Ripper.

\r\n\r\n\tThe essential trick of The Lodger (1944) is its masterful inversion of the traditional mystery story. Instead of following a detective hero on a journey of ratiocination to determine whodunnit, we are exiled frustratingly to the sidelines-just like in real life. We are bystanders, waiting helplessly outside the action in a limbo where fear swirls without context, like children frightened by shadows and sounds in the night. Each new murder enhances the paranoia without bringing us any closer to understanding, because we are not collecting any valid evidence, only circumstantial clues that may or may not mean anything. In all likelihood, the city is full of such \"lodgers,\" targets of suspicion for the people around them but genuinely innocent.

\r\n\r\n\tThere is a fundamental glitch in this setup, however. While it is true that the real-life Jack the Ripper was never caught, that is one of those pesky inconveniences that separate reality from a good story, and movie audiences are apt to feel disappointed by any movie that concludes with the Ripper still at large. However, revealing that the lodger actually is the killer has the effect of undermining some of the point of staging the story among bystanders-if you really have Jack the Ripper living upstairs, then how ordinary are you?

\r\n\r\n\tOver the years, different adaptations have approached this hiccup in their own ways. The original 1913 novel by Marie Belloc Lowndes samples bits of the legendary case of Jack the Ripper into a (then) modern-day London terrorized by \"the Avenger.\" The first film version, Alfred Hitchcock's The Lodger (1927), keeps the contemporary setting, the \"Avenger\" name, and works as a case study in paranoia. Hitchcock's lodger is no killer, and the audience's belief otherwise is used to demonstrate how easily we are led astray by fear.

\r\n\r\n\tWhen Fox producer Robert Bassler set out to make a B-level thriller from the book in 1944, it was decided to bring the highly exploitable Jack the Ripper connection front and center and set the story in 1880s Whitechapel. Screenwriter Barr\u00e9 Lyndon found certain story details forbidden by skittery censors. Although 1944 audiences were tough stuff-this was the Greatest Generation, facing down international fascism and gearing up to drop nuclear bombs on Japan-the Motion Picture Code believed such people would be scandalized by the sight of blood or the explicit mention of sex, so a story about a serial killer who disembowels prostitutes had to use some sly narrative dodges to get its point across. But where the censors could omit from the printed screenplay the most direct mentions of taboo subjects, they had no such reign on the fevered imaginations of the filmmakers, who managed to sneak depravity into every corner of the film through suggestion and bold artistry.

\r\n\r\n\tDirector John Brahm was a German immigrant with a background in Expressionist theater, whose career is dotted with examples of Gothic horror and film noir. Together with cinematographer Lucien Ballard, Brahm frames every shot with deliberate care, using shadows, canted angles, silhouettes, mirror reflections, distorted points of view, and fog to give every image maximum effect. He also has a keen ear for the power of sound, and daringly pulls the soundtrack back to near silence during the tense finale.

\r\n\r\n\tThe casting of Laird Cregar as the titular lodger was the masterstroke. Cregar was a Fox contract star with a flair for the sinister and his own private demons. His crazed performance brings The Lodger to a new level. The screen fairly oozes sticky sweat every time he's on. Cregar's anxiety-laden portrayal of psychosexual torment was years ahead of its time, and pushed past censors one of the screen's first and most influential depictions of psychological horror. Combined with the Gothic atmosphere of the period English setting, it was Psycho as imagined by Hammer Films, fifteen years early. This was the future of horror.

\r\n\r\n\tIn one of the film's most impressive moments, Cregar corners Merle Oberon (who, it so happened, was married to cinematographer Ballard at the time). Her beauty and ostentatious sexuality is driving him insane, and since he was not the portrait of mental stability to start with, this is quite a problem. Patiently, lovingly, he explains how he has no choice but to dismember her and worship her lifeless corpse, how ridding the world of tempting women is his civic duty, how she should understand this is necessary. Cregar seems for all the world like a raging torrent of crazy held in place by the most fragile bindings of self-control, as if a single sneeze would be enough to unleash a violence only barely hinted at by his quavering voice and unsteady body language. It is Oberon's response to this performance that sets the scene apart. Here, and throughout the film, she shows no fear-only tenderness, even forgiveness. The film asks us to find sympathy for the devil; she shows us how.

\r\n\r\n\tAdd an uncharacteristically restrained George Sanders and the always-compelling Cedric Hardwicke to the mix, and you've got yourself a movie. Audiences agreed, and turned this modest production into a sizeable hit for Fox, both commercially and critically. The delighted production team rushed ahead with a follow-up, Hangover Square (1945), so rushed they didn't really have time to write a new story. That 1945 film would be The Lodger redux, with only very slight modifications. A decade later, screenwriter Lyndon wrote yet another adaptation, which was filmed as Man in the Attic (1953) with Jack Palance in the Laird Cregar role.

\r\n\r\nCregar, however, despaired of how his success in such roles had typecast him. Seeking a new romantic hero image, he went on a drug-fueled crash diet that wrecked his health and contributed to his premature death in 1944, before Hangover Square was released. The Lodger had claimed his final victim.

\r\n\r\nProducer: Robert Bassler
\r\nDirector: John Brahm
\r\nScreenplay: Barr\u00e9 Lyndon, based on the novel by Marie Belloc Lowndes
\r\nCinematography: Lucien Ballard
\r\nArt Direction: James Basevi, John Ewing
\r\nMusic: Hugo Friedhofer
\r\nFilm Editing: J. Watson Webb, Jr.
\r\nCast: Merle Oberon (Kitty Langley), George Sanders (Inspector John Warwick), Laird Cregar (Mr. Slade), Cedric Hardwicke (Robert Bonting), Sara Allgood (Ellen Bonting), Aubrey Mather (Supt. Sutherland), Queenie Leonard (Daisy).
\r\nBW-84m.

\r\n\r\n\r\nby David Kalat\r\n\n
\n
\n \n
\n The Lodger (1944)\n

The Lodger (1944)

\n
Imagine you live in London in the time of Jack the Ripper. Mindless fear blankets the city as thick as fog. New victims are claimed by the killer as the police continue to display helplessness and failure. One night, just after the latest brutal killing, a stranger appears on your doorstep. A jittery man whose name suspiciously is the same as the street across the way, he wants to rent a room. He doesn't much care about the amenities, he just wants the room, and fast. He's ready to pay handsomely for it, and upfront. His first order of business is to turn to the wall all of the pictures-he hates the sight of beautiful women, you see. He slinks out late at night for reasons unknown, and returns only to burn his blood-stained clothing, interrupted periodically with rants about how the evil needs to be cut out of people. \r\n\r\n\tSuch a lodger naturally draws suspicion on himself-anyone would be creeped out by such a guest. But in these dark times, as paranoia replaces logic, you have to remind yourself that there are logical explanations for all of this, that you have no proof that the man in the attic is Jack the Ripper. \r\n\r\n\tThe essential trick of The Lodger (1944) is its masterful inversion of the traditional mystery story. Instead of following a detective hero on a journey of ratiocination to determine whodunnit, we are exiled frustratingly to the sidelines-just like in real life. We are bystanders, waiting helplessly outside the action in a limbo where fear swirls without context, like children frightened by shadows and sounds in the night. Each new murder enhances the paranoia without bringing us any closer to understanding, because we are not collecting any valid evidence, only circumstantial clues that may or may not mean anything. In all likelihood, the city is full of such \"lodgers,\" targets of suspicion for the people around them but genuinely innocent. \r\n\r\n\tThere is a fundamental glitch in this setup, however. While it is true that the real-life Jack the Ripper was never caught, that is one of those pesky inconveniences that separate reality from a good story, and movie audiences are apt to feel disappointed by any movie that concludes with the Ripper still at large. However, revealing that the lodger actually is the killer has the effect of undermining some of the point of staging the story among bystanders-if you really have Jack the Ripper living upstairs, then how ordinary are you? \r\n\r\n\tOver the years, different adaptations have approached this hiccup in their own ways. The original 1913 novel by Marie Belloc Lowndes samples bits of the legendary case of Jack the Ripper into a (then) modern-day London terrorized by \"the Avenger.\" The first film version, Alfred Hitchcock's The Lodger (1927), keeps the contemporary setting, the \"Avenger\" name, and works as a case study in paranoia. Hitchcock's lodger is no killer, and the audience's belief otherwise is used to demonstrate how easily we are led astray by fear. \r\n\r\n\tWhen Fox producer Robert Bassler set out to make a B-level thriller from the book in 1944, it was decided to bring the highly exploitable Jack the Ripper connection front and center and set the story in 1880s Whitechapel. Screenwriter Barr\u00e9 Lyndon found certain story details forbidden by skittery censors. Although 1944 audiences were tough stuff-this was the Greatest Generation, facing down international fascism and gearing up to drop nuclear bombs on Japan-the Motion Picture Code believed such people would be scandalized by the sight of blood or the explicit mention of sex, so a story about a serial killer who disembowels prostitutes had to use some sly narrative dodges to get its point across. But where the censors could omit from the printed screenplay the most direct mentions of taboo subjects, they had no such reign on the fevered imaginations of the filmmakers, who managed to sneak depravity into every corner of the film through suggestion and bold artistry. \r\n\r\n\tDirector John Brahm was a German immigrant with a background in Expressionist theater, whose career is dotted with examples of Gothic horror and film noir. Together with cinematographer Lucien Ballard, Brahm frames every shot with deliberate care, using shadows, canted angles, silhouettes, mirror reflections, distorted points of view, and fog to give every image maximum effect. He also has a keen ear for the power of sound, and daringly pulls the soundtrack back to near silence during the tense finale. \r\n\r\n\tThe casting of Laird Cregar as the titular lodger was the masterstroke. Cregar was a Fox contract star with a flair for the sinister and his own private demons. His crazed performance brings The Lodger to a new level. The screen fairly oozes sticky sweat every time he's on. Cregar's anxiety-laden portrayal of psychosexual torment was years ahead of its time, and pushed past censors one of the screen's first and most influential depictions of psychological horror. Combined with the Gothic atmosphere of the period English setting, it was Psycho as imagined by Hammer Films, fifteen years early. This was the future of horror. \r\n\r\n\tIn one of the film's most impressive moments, Cregar corners Merle Oberon (who, it so happened, was married to cinematographer Ballard at the time). Her beauty and ostentatious sexuality is driving him insane, and since he was not the portrait of mental stability to start with, this is quite a problem. Patiently, lovingly, he explains how he has no choice but to dismember her and worship her lifeless corpse, how ridding the world of tempting women is his civic duty, how she should understand this is necessary. Cregar seems for all the world like a raging torrent of crazy held in place by the most fragile bindings of self-control, as if a single sneeze would be enough to unleash a violence only barely hinted at by his quavering voice and unsteady body language. It is Oberon's response to this performance that sets the scene apart. Here, and throughout the film, she shows no fear-only tenderness, even forgiveness. The film asks us to find sympathy for the devil; she shows us how. \r\n\r\n\tAdd an uncharacteristically restrained George Sanders and the always-compelling Cedric Hardwicke to the mix, and you've got yourself a movie. Audiences agreed, and turned this modest production into a sizeable hit for Fox, both commercially and critically. The delighted production team rushed ahead with a follow-up, Hangover Square (1945), so rushed they didn't really have time to write a new story. That 1945 film would be The Lodger redux, with only very slight modifications. A decade later, screenwriter Lyndon wrote yet another adaptation, which was filmed as Man in the Attic (1953) with Jack Palance in the Laird Cregar role. \r\n\r\nCregar, however, despaired of how his success in such roles had typecast him. Seeking a new romantic hero image, he went on a drug-fueled crash diet that wrecked his health and contributed to his premature death in 1944, before Hangover Square was released. The Lodger had claimed his final victim. \r\n\r\nProducer: Robert Bassler\r\nDirector: John Brahm\r\nScreenplay: Barr\u00e9 Lyndon, based on the novel by Marie Belloc Lowndes\r\nCinematography: Lucien Ballard \r\nArt Direction: James Basevi, John Ewing\r\nMusic: Hugo Friedhofer\r\nFilm Editing: J. Watson Webb, Jr.\r\nCast: Merle Oberon (Kitty Langley), George Sanders (Inspector John Warwick), Laird Cregar (Mr. Slade), Cedric Hardwicke (Robert Bonting), Sara Allgood (Ellen Bonting), Aubrey Mather (Supt. Sutherland), Queenie Leonard (Daisy). \r\nBW-84m. \r\n\r\n\r\nby David Kalat\r\n
\n \n
\n\n
\n

The Lodger - THE LODGER on DVD - A 1944 Thriller based on the Jack the Ripper case

\n
\n
\n
September 11, 2007
\n
\n
\n \n \n Twentieth Century-Fox's 1944 The Lodger, a remake of Alfred Hitchcock's 1926 \r\n\r\nsilent film, is in many ways a better movie - deeper, more fluid and more richly nuanced. In \r\n\r\nfairness, it's only somewhat a \"remake.\" Both pictures are based on the same 1912 novel \r\n\r\nby Marie Belloc Lowndes in which a new lodger in a London home draws suspicion that he \r\n\r\nis Jack the Ripper. Lowndes' novel and Hitchcock's film are each set in contemporary \r\n\r\nLondon, and neither mentions \"Jack the Ripper,\" instead naming their killer \"The Avenger\" \r\n\r\neven though it's clear that he's based on the Ripper. The novel furthermore merely \r\n\r\nsuggests at its end that the lodger may be the killer, while Hitchcock's movie makes him \r\n\r\ninnocent. The 1944 version, on the other hand, calls the killer \"Jack the Ripper,\" sets the \r\n\r\ntale in historically accurate late-Victorian London, and leaves no question in our minds \r\n\r\nfrom the very first time we see him that the lodger is indeed the guilty party.

\r\n\r\nThe Lodger, then, is certainly not a whodunit, and it's actually more of a character \r\n\r\npiece than a suspense film, though it does build to a riveting and suspenseful climax. The \r\n\r\nrest of the characters (mainly the family who owns the house and a Scotland Yard \r\n\r\ndetective) don't figure out the lodger's guilt as quickly as we do, and for them the story \r\n\r\nis a whodunit. Director John Brahm and screenwriter Barre Lyndon intelligently \r\n\r\nmake the movie, for us, about something deeper. They're more interested in exploring the \r\n\r\nlodger's state of mind and his inner demons, and they do so without grinding the story to a \r\n\r\nsnail's pace.

\r\n\r\nAs portrayed by Laird Cregar, this Ripper (who goes by \"Mr. Slade,\" a name he makes up \r\n\r\nfrom a street sign), is wonderfully creepy and menacing. Cregar smartly doesn't play him \r\n\r\nas a simple madman, giving him sensitivity and soft-spokenness to go along with some \r\n\r\ntwisted sexuality: he seems to lust after his own dead brother, declaring that \"the beauty \r\n\r\nof women led him to his destruction.\" As a result, Slade hates women, especially \r\n\r\nshowgirls and actresses who peddle their sex appeal to attract males. (While the real Jack \r\n\r\nthe Ripper murdered prostitutes, the Hays Code prevented that element from figuring into \r\n\r\nthis film - hence actresses.)

\r\n\r\nJohn Brahm remains an underrated director with interesting pictures like Tonight We \r\n\r\nRaid Calais (1943), Guest in the House (1944), Hangover Square (1945) \r\n\r\nand The Locket (1946) to his credit. He was highly skilled in creating vivid \r\n\r\natmosphere and detail, and The Lodger shows him in fine form. An opening crane \r\n\r\nshot takes the audience through foggy, cobblestone streets one night, casually and \r\n\r\nintriguingly gliding over a large group of mounted policemen, sitting and waiting atop their \r\n\r\nhorses in the street. There is an overwhelming police presence throughout the entire film, \r\n\r\nin fact, which does a great deal to make the Ripper murders even more shocking because \r\n\r\nit makes us marvel at the fact that the killer could elude detection.

\r\n\r\nEven with the constant police presence, Brahm and his ace cameraman Lucien Ballard are \r\n\r\nstill able to give us a sense of the dark loneliness of the London streets. The scenes with \r\n\r\nCregar tend to emphasize the actor's hulking size (unsurprisingly), and his lighting is \r\n\r\nconsistently ominous and sinister, making for a nice clash with his soulful eyes and \r\n\r\nwell-dressed appearance. More satisfyingly, Brahm and Ballard often find ways to depict \r\n\r\nSlade's tormented mental state via composition and lighting. The scariest scene in the \r\n\r\nmovie involves a murder which is presented from Slade's point of view as he approaches a \r\n\r\nwoman so terrified she literally can't even scream; the camera shakes as it dollies forward, \r\n\r\ncreating a \"handheld\" effect unusual for the era.

\r\n\r\nElsewhere in the cast are Sara Allgood and Cedric Hardwicke as the couple who own the \r\n\r\nhouse, Merle Oberon as their showgirl daughter Kitty, and George Sanders as the \r\n\r\ndetective. Allgood is wonderful, Sanders is adequate despite not getting much chance to \r\n\r\noffer his trademark sarcasm, and Oberon is fine and beautifully photographed by Ballard. \r\n\r\n(The following year, Ballard would marry her.)

\r\n\r\nFox Home Entertainment has packed The Lodger with two other films in a \r\n\r\nsomewhat curiously titled boxset: \"Fox Horror Classics Collection.\" Only one title, The \r\n\r\nUndying Monster (1942) qualifies as a horror film. The Lodger is more of a \r\n\r\nGothic noir, and Hangover Square (1945), which reunited the director, writer, \r\n\r\nproducer and two stars of The Lodger, is a noir melodrama quite similar to \r\n\r\nThe Lodger. Regardless, these are good movies, all directed by Brahm and all \r\n\r\nworth seeing, and they have been very well transferred and given many extras. The \r\n\r\nLodger comes with a making-of featurette which offers intelligent analysis and \r\n\r\nhistorical perspective; a trailer which even shows a snippet of a scene that was cut; a \r\n\r\nsuperb stills gallery; a radio version starring Vincent Price; a \"restoration comparison\"; and \r\n\r\nworkmanlike commentary from film noir experts Alain Silver and James Ursini.

\r\n\r\nFor more information about The Lodger, visit Fox Home Entertainment. To \r\n\r\norder The Lodger, go to\r\nTCM Shopping.

\r\n\r\n\r\nby Jeremy Arnold\r\n\n
\n
\n \n
\n
\n

The Lodger - THE LODGER on DVD - A 1944 Thriller based on the Jack the Ripper case

\n
Twentieth Century-Fox's 1944 The Lodger, a remake of Alfred Hitchcock's 1926 \r\n\r\nsilent film, is in many ways a better movie - deeper, more fluid and more richly nuanced. In \r\n\r\nfairness, it's only somewhat a \"remake.\" Both pictures are based on the same 1912 novel \r\n\r\nby Marie Belloc Lowndes in which a new lodger in a London home draws suspicion that he \r\n\r\nis Jack the Ripper. Lowndes' novel and Hitchcock's film are each set in contemporary \r\n\r\nLondon, and neither mentions \"Jack the Ripper,\" instead naming their killer \"The Avenger\" \r\n\r\neven though it's clear that he's based on the Ripper. The novel furthermore merely \r\n\r\nsuggests at its end that the lodger may be the killer, while Hitchcock's movie makes him \r\n\r\ninnocent. The 1944 version, on the other hand, calls the killer \"Jack the Ripper,\" sets the \r\n\r\ntale in historically accurate late-Victorian London, and leaves no question in our minds \r\n\r\nfrom the very first time we see him that the lodger is indeed the guilty party.\r\n\r\nThe Lodger, then, is certainly not a whodunit, and it's actually more of a character \r\n\r\npiece than a suspense film, though it does build to a riveting and suspenseful climax. The \r\n\r\nrest of the characters (mainly the family who owns the house and a Scotland Yard \r\n\r\ndetective) don't figure out the lodger's guilt as quickly as we do, and for them the story \r\n\r\nis a whodunit. Director John Brahm and screenwriter Barre Lyndon intelligently \r\n\r\nmake the movie, for us, about something deeper. They're more interested in exploring the \r\n\r\nlodger's state of mind and his inner demons, and they do so without grinding the story to a \r\n\r\nsnail's pace.\r\n\r\nAs portrayed by Laird Cregar, this Ripper (who goes by \"Mr. Slade,\" a name he makes up \r\n\r\nfrom a street sign), is wonderfully creepy and menacing. Cregar smartly doesn't play him \r\n\r\nas a simple madman, giving him sensitivity and soft-spokenness to go along with some \r\n\r\ntwisted sexuality: he seems to lust after his own dead brother, declaring that \"the beauty \r\n\r\nof women led him to his destruction.\" As a result, Slade hates women, especially \r\n\r\nshowgirls and actresses who peddle their sex appeal to attract males. (While the real Jack \r\n\r\nthe Ripper murdered prostitutes, the Hays Code prevented that element from figuring into \r\n\r\nthis film - hence actresses.)\r\n\r\nJohn Brahm remains an underrated director with interesting pictures like Tonight We \r\n\r\nRaid Calais (1943), Guest in the House (1944), Hangover Square (1945) \r\n\r\nand The Locket (1946) to his credit. He was highly skilled in creating vivid \r\n\r\natmosphere and detail, and The Lodger shows him in fine form. An opening crane \r\n\r\nshot takes the audience through foggy, cobblestone streets one night, casually and \r\n\r\nintriguingly gliding over a large group of mounted policemen, sitting and waiting atop their \r\n\r\nhorses in the street. There is an overwhelming police presence throughout the entire film, \r\n\r\nin fact, which does a great deal to make the Ripper murders even more shocking because \r\n\r\nit makes us marvel at the fact that the killer could elude detection.\r\n\r\nEven with the constant police presence, Brahm and his ace cameraman Lucien Ballard are \r\n\r\nstill able to give us a sense of the dark loneliness of the London streets. The scenes with \r\n\r\nCregar tend to emphasize the actor's hulking size (unsurprisingly), and his lighting is \r\n\r\nconsistently ominous and sinister, making for a nice clash with his soulful eyes and \r\n\r\nwell-dressed appearance. More satisfyingly, Brahm and Ballard often find ways to depict \r\n\r\nSlade's tormented mental state via composition and lighting. The scariest scene in the \r\n\r\nmovie involves a murder which is presented from Slade's point of view as he approaches a \r\n\r\nwoman so terrified she literally can't even scream; the camera shakes as it dollies forward, \r\n\r\ncreating a \"handheld\" effect unusual for the era.\r\n\r\nElsewhere in the cast are Sara Allgood and Cedric Hardwicke as the couple who own the \r\n\r\nhouse, Merle Oberon as their showgirl daughter Kitty, and George Sanders as the \r\n\r\ndetective. Allgood is wonderful, Sanders is adequate despite not getting much chance to \r\n\r\noffer his trademark sarcasm, and Oberon is fine and beautifully photographed by Ballard. \r\n\r\n(The following year, Ballard would marry her.)\r\n\r\nFox Home Entertainment has packed The Lodger with two other films in a \r\n\r\nsomewhat curiously titled boxset: \"Fox Horror Classics Collection.\" Only one title, The \r\n\r\nUndying Monster (1942) qualifies as a horror film. The Lodger is more of a \r\n\r\nGothic noir, and Hangover Square (1945), which reunited the director, writer, \r\n\r\nproducer and two stars of The Lodger, is a noir melodrama quite similar to \r\n\r\nThe Lodger. Regardless, these are good movies, all directed by Brahm and all \r\n\r\nworth seeing, and they have been very well transferred and given many extras. The \r\n\r\nLodger comes with a making-of featurette which offers intelligent analysis and \r\n\r\nhistorical perspective; a trailer which even shows a snippet of a scene that was cut; a \r\n\r\nsuperb stills gallery; a radio version starring Vincent Price; a \"restoration comparison\"; and \r\n\r\nworkmanlike commentary from film noir experts Alain Silver and James Ursini.\r\n\r\nFor more information about The Lodger, visit Fox Home Entertainment. To \r\n\r\norder The Lodger, go to\r\nTCM Shopping.\r\n\r\n\r\nby Jeremy Arnold\r\n
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Quotes

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Trivia

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Merle Oberon fell in love with film's cinematographer Lucien Ballard and they married the following year. Because of her facial scars sustained in a car accident, Ballard developed a unique light for Oberon that washed out any signs of her blemishes. The device is known to this day as the Obie (not to be confused with the Off-Broadway award).

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Notes

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\n Marie Belloc Lowndes' novel originally appeared as a short story in McClure's in January 1911. According to information in the Twentieth Century-Fox Records of the Legal Department, located at the UCLA Arts-Special Collections Library, in 1940, Lowndes assigned the screen rights to her work to Alfred Hitchcock, who had directed the first screen version of the novel in 1926. The rights were eventually transferred to Myron Selznick and Vanguard Films (David O. Selznick's production company), from which they were purchased by Twentieth Century-Fox in 1943. According to a July 21, 1943 Hollywood Reporter news item, the studio was \"mulling the idea of an all-British cast\" to support Laird Cregar because of the novel's popularity throughout the United Kingdom. On August 21, 1944, Hollywood Reporter noted that the picture had recouped all of its negative and production costs from its successful run in England alone. The picture's excellent reception prompted the studio to re-team Cregar, George Sanders, producer Robert Bassler, writer Barr\u00e9 Lyndon and director John Brahm on the 1945 psychological thriller Hangover Square, which was Cregar's last film.
\n       Although many films have depicted the character \"Jack the Ripper,\" Lowndes' novel, in which the character is not actually identified as the Ripper, is the basis for only a few of the productions. As noted above, the first picture based on her novel was the 1926 Gainsborough film The Lodger, which starred Ivor Novello. Novello again played the title role in the 1932 Twickenham picture The Lodger, which was directed by Maurice Elvey and released in the United States in 1934 as The Phantom Fiend. In 1953, Twentieth Century-Fox released a remake of their film, produced by Panoramic, entitled Man in the Attic, which was directed by Hugo Fregonese and starred Jack Palance and Constance Smith. Lowndes' novel was also the basis for a play entitled The Lodger (Who Is He), written by H. A. Vachell (London, 1916). For more information about the real Jack the Ripper and films based on his crimes, see the entry below for the 1960 Paramount release Jack the Ripper.

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\n \n\n\n\n\n\n\n\n \n\n \n \n", + "page_last_modified": "" + }, + { + "page_name": "The Lodger (2009 film) - Wikipedia", + "page_url": "https://en.wikipedia.org/wiki/The_Lodger_(2009_film)", + "page_snippet": "Writing in Variety, John Anderson stated "The Lodger seems intended to leave its audience as baffled as the London police were in 1888. Never mind that it rains constantly along Ondaatje\u2019s Sunset Strip, or that the melodrama arrives like a monsoon. What needed to be a taut, structurally sound psycho-thriller instead malfunctions from the start." Joe Neumaier wrote in the New York Daily News, "If you think you're tired of tedious thrillers, this B-movie ...Writing in Variety, John Anderson stated \"The Lodger seems intended to leave its audience as baffled as the London police were in 1888. Never mind that it rains constantly along Ondaatje\u2019s Sunset Strip, or that the melodrama arrives like a monsoon. What needed to be a taut, structurally sound psycho-thriller instead malfunctions from the start.\" Joe Neumaier wrote in the New York Daily News, \"If you think you're tired of tedious thrillers, this B-movie has a cast that looks like they slept right through it... Joe Neumaier wrote in the New York Daily News, \"If you think you're tired of tedious thrillers, this B-movie has a cast that looks like they slept right through it... Filled with second-rate Brian DePalma twists, noirishly blurred lights and usually solid actors mouthing potboiler brine, The Lodger resembles bottom-shelf '80s dreck.\" She also made up the imaginary life that her son lived, and the lodger, who was a romantic interest for her. Though the police and the press accept that this is the truth and Ellen is the killer, Manning does not believe it and the last scene is Malcolm, at a new residence in Santa Monica, looking for new lodgings. ... Rebecca Pidgeon as Dr. Jessica Westmin, an FBI profiler assisting with the case \u00b7 Lancer Dean Shull as the Internal Affairs Officer who suspends Chandler Manning from his duties. She stops and turns when she hears the sirens but the ripper has moved to the side and attempts to attack her when she stops. Manning sees the attack and runs off after the ripper, while Wilkenson stays with Amanda. The ripper is chased into the Bunting home where Manning, the Captain and several officers enter. Wilkenson is left trying to solve the case without the assistance of Manning and when he sees Manning's name on a suspect list, he goes to the Captain. The Captain believes Manning is delusional and psychotic, and not only committed the murders 7 years ago but is obsessed with Jack the Ripper and is committing murders again, just so he can solve them. Manning realizes that the Captain suspects him and observes the Captain and officers searching his apartment, and that they have taken the letter he had stolen from evidence.", + "page_result": "\n\n\n\nThe Lodger (2009 film) - Wikipedia\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJump to content\n
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The Lodger (2009 film)

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2009 film by David Ondaatje
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The Lodger
Directed byDavid Ondaatje
Written byDavid Ondaatje
Based onThe Lodger
1913 novel
by Marie Belloc Lowndes
Produced byDavid Ondaatje
Michael Mailer
StarringAlfred Molina
Rachael Leigh Cook
Hope Davis
Simon Baker
CinematographyDavid A. Armstrong
Edited byWilliam Flicker
Music byJohn Frizzell
Production
company
Distributed bySamuel Goldwyn Films[1]
Release date
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  • January 23, 2009 (2009-01-23)
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Running time
95 minutes
CountryUnited States
LanguageEnglish
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The Lodger is a 2009 mystery/thriller film directed by David Ondaatje and starring Alfred Molina, Hope Davis and Simon Baker. It is based on the 1913 novel The Lodger by Marie Belloc Lowndes, filmed previously by Alfred Hitchcock in 1927, by Maurice Elvey in 1932, by John Brahm in 1944, and as Man in the Attic (1953) directed by Hugo Fregonese.\n

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Synopsis[edit]

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This section needs expansion. You can help by adding to it. (February 2015)
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The film follows two parallel stories, one being about a troubled detective (Molina) who plays a cat-and-mouse game with an unknown killer and the other being about an emotionally disturbed landlady and her relationship with an enigmatic \"lodger\" (Simon Baker).[2][3]\n

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Plot[edit]

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The story opens with a brutal murder of a prostitute taking place on Sunset Boulevard, in Hollywood. The detective in charge is Chandler Manning and his rookie assistant is Street Wilkenson. They initially believe this is a stand-alone murder, but when a second prostitute is killed, the medical examiner says the two murders are not only eerily similar to two murders that took place 7 years prior, but they are exact copies of the first two Jack the Ripper murders in 1888 London. Since Detective Manning had caught who he thought was the murderer of the previous crimes, they now realize the wrong person was tried, prosecuted and executed. Manning is also dealing with a wife who tried to commit suicide, and his estranged daughter, Amanda, who blames him for the attempt.\n

In a second story line, a couple is looking to rent their guest house when a passerby comes to the door and says he wishes to rent the room. Ellen Bunting takes the lodger, Malcolm Slaight, to see the room and he immediately agrees to rent the guest house but says several times he cannot be disturbed since he is a writer, and needs complete quiet. When Ellen's husband, Joe, asks her why the \"for rent\" sign has been removed, she says she has rented the room but the lodger needs to be left alone. Joe does not believe she has rented the guest house because he never sees anyone coming or going from the premises, and because he knows his wife has episodes where she imagines things and needs to take medication. Ellen begins to have feelings for the lodger and she goes out of her way to see him. She catches him in their kitchen late one night and when he says he was looking for scissors, she reaches across him to pick up and hand him a pair, but he just takes them and walks out.\n

The ripper copycat then commits two more murders, but this time he is seen by a witness who describes a man with a long black coat and a black bag. Manning notices a garbage can near the murder site with BATTY written on it; when he opens the lid, he finds a pair of bloody underwear that belong to one of the victims. Wilkenson is suspicious of how he knew there was something in the can, but Manning references the previous ripper murders and how they found a portion of clothing from one of the victims. Manning then goes to the old case files for the man he had previously arrested for the murders 7 years ago, and takes evidence of a letter that was written to him after the arrest had taken place. While there, he pulls his gun on the evidence clerk and tells him to stop following him.\n

Ellen continues to make contact with the lodger by taking him breakfast and tea - anything to be near him. On one visit she sees a pair of her husband's boots drying on a newspaper, and Malcolm states they got muddy when he walked in the garden. The lodger then kisses her, and Joe can be seen in the house, beginning to head for the guest house. As he is nearing, Ellen opens the door and walks out with the boots, saying she was cleaning them. She sees a picture in the newspaper of a footprint taken of boots that is linked to the crime, and puts the sole of the boot on top of the picture, but then does nothing despite realizing that they are the same size. Joe, getting tired of what he thinks is Ellen's hallucination, forces her next door and tells her he doesn't want to hear another word about the imaginary lodger if they see no one in the room. When the door opens, no one is there and Ellen is left sitting in the rain while Joe disgustedly walks back to the house.\n

Manning and Wilkenson begin investigating the suspects that are known to frequent the area where the killings are taking place, and this brings them into contact with Joe Bunting. They visit the Bunting home, and Ellen acts suspiciously when she takes them to see the guest house. They leave to get a warrant to search the place, but Manning is pulled into a meeting with the Captain of the precinct and the Mayor. Since he threatened the evidence clerk while at the station, they feel this - combined with his personal life - is causing him to lose touch with reality and they place him on suspension. Det. Wilkenson is left trying to solve the case without the assistance of Manning and when he sees Manning's name on a suspect list, he goes to the Captain. The Captain believes Manning is delusional and psychotic, and not only committed the murders 7 years ago but is obsessed with Jack the Ripper and is committing murders again, just so he can solve them. Manning realizes that the Captain suspects him and observes the Captain and officers searching his apartment, and that they have taken the letter he had stolen from evidence.\n

Ellen, believing Malcolm is guilty but not caring, goes to the guest house to wipe it clean of any evidence he was ever there, and disturbs a cabinet, causing a gush of red liquid that appears to be blood to spill from it. Malcolm walks in then and confronts her about why she is there and says a bottle of red ink must have spilled. Ellen goes to the house to wash her hands and Malcolm walks in, carrying a black bag. Ellen - realizing he is either about to leave, or worse, kill her - says she will not tell anyone what she has seen and will do anything to protect him. Malcolm appears to let her take the bag from his hand. Meanwhile, Joe is at work and finds that the police have been there to talk to him and becomes agitated.\n

Manning goes to Wilkenson to ask him for help, as there has been yet another murder, leaving only one woman left to be killed before the murderer disappears. Wilkenson agrees and they get the warrant they need to search the Bunting's guest house but initially find nothing. Manning then realizes the cabinet has not been opened and when they do, in it are maps with red ink and prints on them. Wilkenson and the Captain both look suspiciously at Manning because they believe he is planting evidence, and Wilkenson cuffs Manning to escort him in, though they also place a call to pick up Joe at work. When the police arrive, they realize Joe is no longer there.\n

We see Manning's daughter, Amanda, leaving her dorm at college and being observed by someone in the shadows. Manning notices two maps at the scene, one of London during the Ripper murders and another of Hollywood, marking the current killing. He sees that the marks on the map line up for the past murders, except now there is a new mark on the Hollywood map that does not line up, and it is exactly where his daughter's dorm is. He talks Wilkenson into removing the cuffs and they head off to grab Amanda, but she is walking down the street, headed to a local venue. She is being followed by someone in a long black coat, wearing boots and begins to run.\n

She stops and turns when she hears the sirens but the ripper has moved to the side and attempts to attack her when she stops. Manning sees the attack and runs off after the ripper, while Wilkenson stays with Amanda. The ripper is chased into the Bunting home where Manning, the Captain and several officers enter. We see Ellen in the living room, sitting in a rocking chair, wielding a long, curved knife. She drops the knife when they enter and go upstairs; they find Joe has been cut up very badly but is still alive.\n

The ending provides an explanation for the killings; Ellen became schizophrenic by the death of her baby in child birth 8 years ago, and this sent her into a spiral of killing. She also made up the imaginary life that her son lived, and the lodger, who was a romantic interest for her. Though the police and the press accept that this is the truth and Ellen is the killer, Manning does not believe it and the last scene is Malcolm, at a new residence in Santa Monica, looking for new lodgings.\n

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Cast[edit]

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Storyline 1:\n

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Storyline 2:\n

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Release[edit]

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The film premiered on January 23, 2009 in limited release in New York and Los Angeles,[4] and was released on DVD on February 10, 2009.[2]\n

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Reception[edit]

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The film drew negative reviews from most critics. The consensus on Rotten Tomatoes is \"An accomplished cast can't save a derivative suspense flick that manages to confuse and bore rather than thrill.\" It received a 21% rating on Rotten Tomatoes based on 24 critic reviews.[5] Metacritic (which uses a weighted average) assigned The Lodger a score of 17 out of 100 based on 8 critics, indicating \"overwhelming dislike\".[6]\n

Writing in Variety, John Anderson stated \"The Lodger seems intended to leave its audience as baffled as the London police were in 1888. Never mind that it rains constantly along Ondaatje\u2019s Sunset Strip, or that the melodrama arrives like a monsoon. What needed to be a taut, structurally sound psycho-thriller instead malfunctions from the start.\"[7] Joe Neumaier wrote in the New York Daily News, \"If you think you're tired of tedious thrillers, this B-movie has a cast that looks like they slept right through it... Filled with second-rate Brian DePalma twists, noirishly blurred lights and usually solid actors mouthing potboiler brine, The Lodger resembles bottom-shelf '80s dreck.\"[8] Robert Abele wrote in the Los Angeles Times, \"This strained, empty effort doesn't work as homage or update, and in its darkly violent sensibility has neither the glamour of Brian De Palma's referential nightmares or even the narrative fuel of the serial-killer-obsessed procedurals that dominate TV.\"[9] Ben Walters attacked the film in Time Out, writing \" the real crime is the travesty writer-director David Ondaatje perpetrates on Alfred Hitchcock\".[10]\n

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References[edit]

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  1. ^ a b \"The Lodger (2008)\". AFI Catalog of Feature Films. Retrieved 20 February 2021.\n
    2. \n
  2. ^ a b c d e f g h i Turek, Ryan. \"The Lodger Redo Goes to DVD\". Shocktillyoudrop.com. Archived from the original on 2012-04-02. Retrieved 2012-08-06.\n
    3. \n
  3. ^ a b c Tatiana Siegel (2007-10-25). \"Molina, Davis join 'Lodger' redo\". Variety. Retrieved 2008-10-21.\n
    4. \n
  4. ^ Turek, Ryan (2008-12-23). \"Lodger Goes Theatrical in January\". Shocktillyoudrop.com. Retrieved 2012-08-06.\n
    5. \n
  5. ^ \"The Lodger (2009)\" – via www.rottentomatoes.com.\n
    6. \n
  6. ^ \"The Lodger (2009)\". Metacritic. Fandom, Inc. Retrieved December 21, 2023. \n
    7. \n
  7. ^ Anderson, John (January 20, 2009). \"The Lodger\".\n
    8. \n
  8. ^ \"More movie reviews: 'The Dark Knight,' 'Crips and Bloods,' 'The Lodger'\". nydailynews.com.\n
    9. \n
  9. ^ \"Entertainment & Arts\". Los Angeles Times.\n
    10. \n
  10. ^ \"The Lodger\".\n
    11. \n
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External links[edit]

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Retrieved from \"https://en.wikipedia.org/w/index.php?title=The_Lodger_(2009_film)&oldid=1209927395\"
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IMDbPro

The Lodger

IMDb RATING
7.1/10
4.1K
YOUR RATING
\"George
CrimeHorrorMystery

A landlady suspects that her new lodger is Jack the Ripper.A landlady suspects that her new lodger is Jack the Ripper.A landlady suspects that her new lodger is Jack the Ripper.

    • IMDb RATING
    7.1/10
    4.1K
    YOUR RATING
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    \"Sara
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    Top cast

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    \"Laird
    Laird Cregar
    \"Merle
    Merle Oberon
    \"George
    George Sanders
    \"Cedric
    Cedric Hardwicke
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    Sara Allgood
    \"Aubrey
    Aubrey Mather
    \"Queenie
    Queenie Leonard
    \"Doris
    Doris Lloyd
    \"David
    David Clyde
    Helena Pickard
    \"Fred
    Fred Aldrich
    Harry Allen
    \"Jimmy
    Jimmy Aubrey
    Joan Bayley
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    Wilson Benge
    \"Billy
    Billy Bevan
    Ted Billings
    \"Edmund
    Edmund Breon

    More like this

    \"Hangover
    7.4
    Hangover Square
    \"The
    7.3
    The Lodger: A Story of the London Fog
    \"Ivy\"
    7.1
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    \"So
    6.9
    So Evil My Love
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    5.6
    The Phantom Fiend
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    The Lodger
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    Ladies in Retirement
    \"Roadblock\"
    6.6
    Roadblock

    Storyline

    Edit

    Did you know

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    • Trivia
      Merle Oberon fell in love with the film's cinematographer, Lucien Ballard, and they married the following year. Because of facial scars Oberon sustained in a car accident, Ballard developed a unique light for her that washed out any signs of her blemishes. The device is known to this day as the Obie (not to be confused with the Off-Broadway award).
    • Goofs
      The police inspector says that a fingerprint was taken from one of the Ripper murder scenes, and the inspector himself carries a vial of fingerprinting powder. However, the Ripper murders took place in 1888; the first criminal identification from fingerprints took place in Argentina in 1892, and the British police did not adopt fingerprinting until 1901.
    • Quotes

      Slade: You wouldn't think that anyone could hate a thing and love it too.

      Kitty Langley: You can't love and hate at the same time.

      Slade: You can! And it's a problem then...

    User reviews69

    Review
    Review
    Featured review
    7/10
    Mrs. Lowndes' evergreen tale of the Ripper finds a memorable exemplar in Laird Cregar
    It's London's autumn of terror \u0096 1888 \u0096 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 \u0096 he was six-three and 300 pounds \u0096 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.
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    ", + "page_last_modified": "" + }, + { + "page_name": "The Lodger (1944 film) - Wikipedia", + "page_url": "https://en.wikipedia.org/wiki/The_Lodger_(1944_film)", + "page_snippet": "The Lodger is a 1944 American horror film about Jack the Ripper, based on the 1913 novel of the same name by Marie Belloc Lowndes. It stars Merle Oberon, George Sanders, and Laird Cregar, features Sir Cedric Hardwicke, and was directed by John Brahm from a screenplay by Barr\u00e9 Lyndon.The Lodger is a 1944 American horror film about Jack the Ripper, based on the 1913 novel of the same name by Marie Belloc Lowndes. It stars Merle Oberon, George Sanders, and Laird Cregar, features Sir Cedric Hardwicke, and was directed by John Brahm from a screenplay by Barr\u00e9 Lyndon. Lowndes' story had previously been filmed by Alfred Hitchcock in 1927 as a silent film, The Lodger: A Story of the London Fog, and by Maurice Elvey with sound in 1932 as The Lodger. Slade, a serial killer, is a lodger in a 19th-century family's London home. So is a singer, Kitty Langley, who definitely has caught Slade's eye. The man of the house, Robert Bonting, is recovering from a nervous breakdown caused by business reverses. So the family is initially blind to Slade's increasingly peculiar behavior, such as turning all portraits of women to face the wall and burning odds and ends in the middle of the night. The New York Times gave the film a mixed review: \"If The Lodger was designed to chill the spine\u2014as indeed it must have been, considering all the mayhem Mr. Cregar is called upon to commit as the mysterious, psychopathic pathologist of the title\u2014then something is wrong with the picture. But, if it was intended as a sly travesty on the melodramatic technique of ponderously piling suspicion upon suspicion (and wrapping the whole in a cloak of brooding photographic effects), then The Lodger is eminently successful.\" Variety wrote: \"With a pat cast, keen direction, and tight scripting, 20th-Fox has an absorbing and, at times, spine-tingling drama\". Laird Cregar as Mr. Slade, the lodger", + "page_result": "\n\n\n\nThe Lodger (1944 film) - Wikipedia\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJump to content\n
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    The Lodger (1944 film)

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    1944 American horror film by John Brahm
    \n
    The Lodger
    Theatrical release poster
    Directed byJohn Brahm
    Screenplay byBarr\u00e9 Lyndon
    Based onthe novel The Lodger
    1913 novel
    by Marie Belloc Lowndes
    Produced byRobert Bassler
    Starring
    \n\n
    CinematographyLucien Ballard
    Edited byJ. Watson Webb Jr.
    Music byHugo Friedhofer
    Production
    company
    Distributed by20th Century Fox
    Release date
    \n
    • January 19, 1944 (1944-01-19) (United States)
    \n
    Running time
    		84 minutes
    CountryUnited States
    LanguageEnglish
    Budget$869,300[1][2]
    Box office$3 million[1][3]
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    The Lodger is a 1944 American horror film about Jack the Ripper, based on the 1913 novel of the same name by Marie Belloc Lowndes. It stars Merle Oberon, George Sanders, and Laird Cregar, features Sir Cedric Hardwicke, and was directed by John Brahm from a screenplay by Barr\u00e9 Lyndon.\n

    Lowndes' story had previously been filmed by Alfred Hitchcock in 1927 as a silent film, The Lodger: A Story of the London Fog, and by Maurice Elvey with sound in 1932 as The Lodger. It was remade again in 1953 by Hugo Fregonese as Man in the Attic, starring Jack Palance, and again in 2009 by David Ondaatje.\n

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    Plot[edit]

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    Slade, a serial killer, is a lodger in a 19th-century family's London home. So is a singer, Kitty Langley, who definitely has caught Slade's eye. The man of the house, Robert Bonting, is recovering from a nervous breakdown caused by business reverses. So the family is initially blind to Slade's increasingly peculiar behavior, such as turning all portraits of women to face the wall and burning odds and ends in the middle of the night. \n

    Women are being brutally killed in the Whitechapel district. Scotland Yard is investigating, and a detective, John Warwick, begins to cast his suspicions in Slade's direction. Kitty, meanwhile, has also developed an attraction to Slade. When Jennie, a former actress who asked Kitty for a handout just before being murdered in her own home is discovered, the investigation increasingly revolves around Kitty's circle of associates.\n

    Slade goes to see Kitty perform at a cabaret. Watching her and her troupe perform a flesh-revealing Can-Can dance brings out his worst instincts. He goes backstage afterward, rants that his brother had taken his own life due to a failed association with an actress; and tries to make her his next victim. But Warwick's men get there just in time. Unwilling to be taken into police custody, Slade flees to the riverbank, and leaps to his death.\n

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    Cast[edit]

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    Reception[edit]

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    Box office[edit]

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    The film made a profit of $657,700.[1]\n

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    Critical[edit]

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    The New York Times gave the film a mixed review: \"If The Lodger was designed to chill the spine\u2014as indeed it must have been, considering all the mayhem Mr. Cregar is called upon to commit as the mysterious, psychopathic pathologist of the title\u2014then something is wrong with the picture. But, if it was intended as a sly travesty on the melodramatic technique of ponderously piling suspicion upon suspicion (and wrapping the whole in a cloak of brooding photographic effects), then The Lodger is eminently successful.\"[4] Variety wrote: \"With a pat cast, keen direction, and tight scripting, 20th-Fox has an absorbing and, at times, spine-tingling drama\".[5] TV Guide rated it 4/5 stars, and wrote: \"Cregar is absolutely chilling in this Jack the Ripper tale, perhaps the best film made about Bloody Jack.\"[6]\n

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    See also[edit]

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    References[edit]

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    1. ^ a b c Mank, Gregory William (2018). Laird Cregar: A Hollywood Tragedy. McFarland.\n
      2. \n
    2. ^ FRED STANLEY (Oct 17, 1943). \"ALL IS CONFUSION: Hollywood Views Juvenile Delinquency Films Through Haze of Censorship\". New York Times. p. X3.\n
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    3. ^ Aubrey Solomon, Twentieth Century-Fox: A Corporate and Financial History Rowman & Littlefield, 2002 p 220\n
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    4. ^ The New York Times, film review, January 20, 1944. Accessed: July 4, 2013.\n
      5. \n
    5. ^ \"Review: 'The Lodger'\". Variety. 1944. Retrieved February 20, 2015.\n
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    6. ^ \"The Lodger\". TV Guide. Retrieved February 20, 2015.\n
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