This is Hitchcock's third film and the one he considered his first "true" film. It definitely reveals aspects of Hitchcock's constant desire to deliver stylish images through the use of light/shadow and lens angle. It also includes nods to German expressionism, which Hitchcock was known to have explored just before filming this thriller. One might assume that he also saw "Nosferatu" because of certain images in this film.
When a new lodger comes to the Bunting household, he inspires suspicions because of his peculiar behavior. He is expressionless and seemingly preoccupied. Still, he pays for a month in advance.
Meanwhile, that section of town has been victimized weekly by a fiendish killer who preys on blondes. The newspapers play up the story and everyone is buzzing.
Hitchcock expertly creates a puzzle of occurrences and circumstances that have the viewer wondering if the lodger might be the criminal. As he did in "Rear Window", he uses doubts and suspicions to draw the viewer in, though this film lacks mature Hitchcock's ability to develop relationships and fully engage the emotions.
When a new lodger comes to the Bunting household, he inspires suspicions because of his peculiar behavior. He is expressionless and seemingly preoccupied. Still, he pays for a month in advance.
Meanwhile, that section of town has been victimized weekly by a fiendish killer who preys on blondes. The newspapers play up the story and everyone is buzzing.
Hitchcock expertly creates a puzzle of occurrences and circumstances that have the viewer wondering if the lodger might be the criminal. As he did in "Rear Window", he uses doubts and suspicions to draw the viewer in, though this film lacks mature Hitchcock's ability to develop relationships and fully engage the emotions.