Hello once again, and welcome back to Weekly Hitch. This is a film studies project sort of thing in which I watch all of Alfred Hitchcock’s films, in chronological order, and then analyze them to the best of my meagre ability. It’s sort of like I’m going to a very weird film school, and you have to read all my homework.
This week, our last week in the twenties, also brings us our very first film with actual synchronized sound – and brings Hitchcock back to form (and to murder) with a morally ambiguous and rather startlingly raw thriller with 1929’s Blackmail.
Welcome to the second week of Weekly Hitch, in which I watch most of Hitchcock’s movies in chronological order for a year and then try to make you read about it. Fun, right?
For week two of the project we arrive at Hitchcock’s third film, 1927’s The Lodger: A Story of the London Fog. Hitch’s second film, The Mountain Eagle, is considered lost and may never be seen again – so we had to skip over that and continue on with a really great and pivotal film – a movie that Hitch himself would later call “the first true Hitchcock picture.” So let’s get the week underway with, The Lodger.
And so, Weekly Hitch begins with the 1925 silent melodrama, and Alfred Hitchcock’s first complete and surviving film as a director; The Pleasure Garden.
For the sake of format, we’ll start with a bit about the story of the film, then my own broad impressions, and then we can get a little deeper into the history and making and interesting bits about the film. Since we’re all new to this, I don’t see much harm in feeling our way together. After all, as Hitch often said – “It’s only a movie.”