Alfred Hitchcock's the Lodger finds the master of suspense, at 27, already with an instant knack at mounting suspense and dread, often with some startling camera movements, not to mention the moments of gallows humor. It's exhilarating to see Hitchcock, in a silent film no less, stage the implied murder of a woman by showing movement, shadow, a pause, then a seemingly over-the-top close-up of the woman screaming, then cutting to the next day or whatever. He makes a street corner look downright vicious and creepy, and I'm sure in the intended blue-tinted scenes it's something of a minor revelation on escalating the thriller of the period into art (the version available on the most recent DVD, as an 'extra' on the DVD of Sabotage, is acceptable at best and at worst is a travesty for collectors who might want the best musical score or digital treatment of a transfer).<br /><br />It's the classic story of Jack the Ripper, with certain names changed and a slight twist of a jealous romantic plot common to Hitchcock films- here he's called the "Avenger- and it concerns a certain lodger who goes to stay for a bit at a house owned by Mr. and Mrs. Bunting. The lodger is a funny sort of chap, hating the pictures on the wall in his room, saying ominous throwaway words during a chess game, and going out in foggy London at night. The Bunting's daughter likes him, but her fiancée, a detective, is jealous and suspects the lodger to be the deadly Avenger, out killing blonds left and right. The story, despite seeming (at least on the DVD) to jump around a little bit in mid-scene, is executed with a level of narrative fluidity I was surprised by. Sometimes in silent films one gets so attracted to just the visual aspects of certain compositions or the star power of the leads that the story loses its way. Here Hitchcock balances the elements, and makes for some good details along the way.<br /><br />There are little things that stand out as interesting techniques or little notes in the storyline. I liked the editing style when we see a crowd gather around the corpse of one of the Avenger. I liked, a lot, seeing a figure walk across what seems like a staircase, but looking upward at him. And I loved seeing a little note of romance, as a character cuts out a little heart-shaped piece of dough and hands it to Daisy (played by, simply named, 'June' who is a beauty), coaxingly, but then when not accepted right away he rips it in two. A detail like that, or a line of dialog at the end cuing the audience to something "you're toothbrush - you left it behind" makes for a nice touch too. It doesn't hurt either that Ivor Novello makes for a perfectly ambiguous character- the sort you're not totally sure of, watching his every facial gesture like it's another clue, or another devilish intonation.<br /><br />Compared to some of Hitchcock's more beloved classics this is sometimes a little crude in its construction, as well having to be subverted to the sound form (one wishes a little for the big personalities of Hitchcock's 1930s British films). But all things considered, it's essential viewing, and shows the kind of breakthrough work that Hitchcock needed (i.e. a hit) that could get the ball rolling on his career in England- and not as a fluke, to be sure.