The Lodger

Hitchcock called his third feature “the first true Hitchcock movie.” His first foray into the thriller genre, THE LODGER introduced the “wrong man” theme (not to mention the obsession with “golden curls”) that would recur throughout his career. Ivor Novello plays the mysterious tenant who may be implicated in a series of Jack the Ripper-style murders; his performance dares the audience to suspect an attractive man of unspeakable crimes. The film’s style is marked by both the long shadow of German Expressionism and Hitchcock’s own visual ingenuity, as in the famous sequence of the lodger pacing in an upstairs room, shot through a floor of glass

Other Films by Alfred Hitchcock

Vertigo

Topping Sight & Sound’s most recent critics’ poll of the 50 greatest films of all time, this 1958 psychological thriller was considered a critical and box office failure in its initial release. Hitchcock casts Jimmy Stewart against type as a traumatized, former San Francisco cop turned gumshoe whose chance encounter with a mysterious woman (Kim

Rear Window

One of the most famous procedural thrillers in film history and routinely voted amongst the greatest films ever produced, Rear Window came relatively early in a long string of masterpieces from Hitchcock that all delve deeply into the American consciousness. L.B. “Jeff” Jefferies (James Stewart) is a New York magazine photographer who spends most of

Easy Virtue

Hitch’s “wrong man” theme finds early expression in this tale of a young woman divorced by her husband after being wrongfully accused of adultery.

The Manxman

In one of the best works of Hitch’s early career, two boyhood friends—one a lawyer, the other a fisherman—are torn apart when they discover they are in love with the same woman.

The Pleasure Garden

Hitchcock’s first film, shot in Germany and on location in Italy at Lake Como, is set in the world of seedy London nightclubs. Two young dancers, one celebrated, the other finding her way, take intertwined paths to romantic tragedy. The first of several Hitchcock films about women putting faith in men they don’t really know—to