This film is considered the first Hitchcock's movie, but obviously, it is not actually, but anyways. This movie shows what this great English filmmaker would do during the rest of his successful career. "The Lodger" has everything one can ask about a film-noir movie: a great storyline, credible characters, a hero and a villain, plus the necessary dose of suspense. In this movie, Hitchcock tricks his audience, by showing things one would suppose that in the end result were the opposite. That's a very important feature about the Hitchcockian cinema, and the film-noir cinema overall. The actors do a great job, especially Ivor Novello, who for nothing it is one of the most recorded British performers in history. This character, more proper of Edgar Allan Poe's tale, is quiet, mysterious, although has a unique personality that rivals his antagonist: his landlady's daughter's fiancé. The topics touched in this film are diverse, and proper of a gothic novel as well: mystery, suspense, love, passion, vengeance, blood. This movie has everything and clearly shows the psychology of each character, all of them are unique, pointing more effect on Ivor Novello's character, the lodger, because of his uniqueness and mystery. The techniques Hitchcock used for this movie were very innovative, the angles he took to show the audience the point of view of some characters, especially Daisy's one, pointing out that her point of view, her feelings, were important for the development of the story. In conclusion, this movie is just perfect, a masterpiece of the silent era, a precursor of what in the next decade would become film noir. This movie marks the beginning of the interesting Hitchcockian filmography.

I enjoyed watching this. Though it did leave me terribly curious about the killer and their motives.

Jealousy, obsession, suspense, murder, blonde women in peril – all the hallmarks of Hitchcock’s later work are there. The film’s plot is driven by the identify of a murderer and the suspicions the titular lodger may well be responsible. Hitchcock cleverly weaves into the plot the different elements that feed into the mystery and Ivor Novello’s performance keeps both the characters and the audience guessing until the final act. What’s striking is that as an early silent film there is practically nothing that would be changed to accommodate dialogue and yet the film remains a compelling mystery with relatable characters.

Not a connaiseur of silent movie, but this felt like a good movie for the time outside of the weird caricature of a man that the policeman was. The twist was nice, but it felt like the plot move too slowly. I ended up going for a 2x speed and it felt much better after that

[Filmin] Watched from the knowledge of Hitchcock's filmography, it looks like a compilation of "easter eggs" from his later career. We can find here resources and ideas that he later developed in his best-known films, unusual visual findings for the time. The shadow of the cross on Ivor Novello's face, almost like a foretaste of the end, the stairs as a narrative device, the suspense built through the slowing down of time, the expressionist shadows around the nervous landlady as her tenant walks out the night... Absolutely enjoyable, but more recommendable to watch without sound, avoiding the inadequate music that Nitin Sawhney composed for the London Symphony Orchestra in 2012, despite being a tribute to Bernard Herrmann.