Restorations and home video releases
- A Story of the Home Video Fog: for every quality release, many awful ones lurk to catch the unwary
- The Lodger languished in multitudes of atrocious, corrupted bootleg copies for decades
- Origin of most common bootleg score remains a mystery to world’s music experts
- Restoring the Ripper: four versions, five (or six) scores and six transfer speeds!
- First quality version finally arrived more than 60 years after the film’s début
- Examining all the best Blu-ray, DVD and streaming releases worldwide
Note: this is part of an ongoing series of 150-odd Hitchcock articles; any dead links are to those not yet published. Subscribe to the email list to be notified when new ones appear.
The Lodger, Part 1: Production, 2: Dispelling myths, 3: Home video releases, 4: Remakes

US Criterion Prime Video HD artwork
Contents
- The many faces of The Lodger
- A pictorial journey
- Archive version releases
- Restored version releases
- Reviewing the evidence
- Related articles
The many faces of The Lodger
Believe it or not, four (or five!) distinct versions of the film have been issued on official home video, along with five (or six) different scores – and six different running speeds! Factor in any number of poor quality bootleg transfers originating from the wilderness years when it was in the US public domain, along with all the other British Hitchcocks, and that’s a helluva lotta Lodgers. The first official release, a transfer of a fairly worn but complete preserved print, first appeared on a few European VHSs from 1989 onwards and is known as the “archive version’’ (AV). Tinted and toned throughout, it has amber or sepia shades for indoor scenes and vivid blues for the many outdoor night scenes. It’s been transferred at the too-fast sound speed of 24fps (74min) so runs for 71min on various pre-2010 European DVDs, with their additional 4% PAL speed-up. Mind you, in this case it doesn’t overly affect the viewing experience.
Lastly, it features a mono compilation score by Paul Zaza from 1989. Lively and evocative, it’s constructed from old jazz and classical recordings interspersed with piano and other instrumentals from Zaza himself. This is among the upper tier of such scores, with the different elements synced perfectly to the action and discreetly cross-faded, rather than being clumsily chopped together like many bargain bin public domain releases. I contacted Zaza when this article was first published in 2018 to ask if he a had a list of the selections used and he replied:
“As far as The Lodger is concerned, I’m afraid there isn’t much to tell. It was so long ago that I actually don’t remember what I did. I do recall that it was, it had to be done very quickly because as usual, the producers didn’t give me enough time. If I can find a copy, I may review it and perhaps some of the details you’re looking for may become apparent. Sorry I can’t be more helpful, Brent.”
Despite its technical shortcomings, the AV succeeds in giving a perfectly enjoyable presentation; it was a revelation when it first appeared and still stands up very well today. I know I’m not alone in having a nostalgic fondness for the AV and it’s certainly far better than the many awful B&W bootlegs prowling around. They were once the only way to see The Lodger at all, but should have long since been consigned to the dustbin of history.
Mark Kermode’s review | TCM, #2
The AV was swiftly superseded by the BFI’s photochemically restored version (RV), carried out in association with ZDF-Arte to commemorate the great man’s centenary. It was first broadcast in August 1999 by ZDF in Germany, accompanied with a new orchestral score commissioned from Ashley Irwin, and much later both were also released on DVD. But the RV’s first home video appearance came a few months after the ZDF broadcast, via a UK VHS, albeit with a different new score (vid, #2, #3) by The Divine Comedy’s Joby Talbot, in which he left the victims’ visually powerful screams silent. It was performed by the Matrix Ensemble conducted by Robert Ziegler, who later also performed an excellent-but-unavailable score for Blackmail. Talbot’s Lodger score is now effectively unavailable but ought to have been licenced and synced to the completely silent RV in Network’s otherwise impeccable Hitchcock: The British Years DVD box set.
The Lodger RV is truly a thing of beauty: it has a stabilised, vastly improved image and optimally runs at a more accurate and pleasing 20fps, equalling 90min. However, as indicated below, a few releases have it sped up or slowed down to run anywhere from 86–99 min. There are actually a handful of restored versions in the BFI archives as the original effort, began in 1982, was improved on several times. Three variants of the latest one appear on home video and their overall appearance varies quite significantly. Some home video releases feature a couple of earlier iterations (RV1, RV2) whose chemically applied colour schemes, though slightly different to each other, are similar to the AV. Both have the same amount of damage, though it’s very slightly less evident on the RV1. However, this looks to be the result of the RV2 releases being more detailed due to superior mastering, which has the unfortunate side effect of also highlighting any flaws more effectively.
The film was most recently digitally refined as part of the Hitchcock 9 project and that’s the version (RV3) on post-2012 releases. This time around, an incredible amount of work was carried out on the photochemical restoration to minimise onscreen damage, to the degree that it’s barely noticeable even under close scrutiny. Additionally, the RV’s already gorgeous colours were comprehensively overhauled in the digital domain, resulting in a much deeper, richer palette. Now, the original lustrous hues can be enjoyed again for the first time since its original release. External night scenes are especially impressive, rendered in vivid blue shades and turning to an iron blue tone with amber tint to signify thick fog. This is truly one of the most beautifully coloured silents I’ve seen. It’s an incredible achievement; hats off to the restoration team.
“As the negative no longer exists, the source material for the restoration was a number of nitrate prints, held at the BFI National Archive since the 1940s, and other material that had been made from them in the various restorations over the years. An international search proved that our material was unique and, importantly, the access to Ivor Montagu’s hand-corrected list of edited intertitles showed that the film’s continuity had survived extremely well. After identifying and scanning the best material, several hundred hours were spent on the removal and repair of dirt and damage, resulting in a far cleaner image. The Lodger was tinted and toned on its original release, the differing colours used to dramatic effect. Earlier photochemical restorations had reproduced these effects, but digital imaging systems allow incredible scope for adjusting the contrast and depth of the colours to ensure a balance with the underlying black and white cinematography.” – BFI programme notes
This tinted and toned 1926 nitrate print at the Timeline of Historical Film Colors, while retaining excellent detail, has faded drastically due to decomposition and shows just how much the film’s now been reinvigorated. As well as the AV’s re-edited Zaza score, between them the three RVs have been wedded to four additional custom scores. I like all of them to varying degrees but whatever your taste, you should find at least one to suit. The bottom line is that as with Nosferatu, that other most notable silent about a nocturnal killer, The Lodger was always intended to be experienced custom-scored and in colour. If you’re watching a gruesome B&W bootleg with a generic needle-drop score, you’re doing it wrong.
Now Showing: worldwide screenings
In 2017, the Paramount Theatre in Austin, Texas, commissioned a new score from Graham Reynolds for a one-off screening of the restored version. Sadly, the live audio recording hasn’t been made available for syncing to the RV at home but in 2020 Reynolds released a 38-minute album of highlights on vinyl and MP3.
A pictorial journey
Prior to the appearance of the AV and RVs, The Lodger really suffered: whenever he was sighted in the shadows it was only via blurry, battered and chopped up copies. These screenshots represent his home video journey over the past few decades; there are more at the invaluable Hitchcock Zone and Caps-a-holic.

US St. Clair DVD
This is perhaps the most common bootleg transfer: a well-worn copy of the 1960s-1970s Vintage Films 16mm and 8mm print distributed by Cine Service, Connecticut or Cine Service Laboratories, Inc. of Watertown, Massachusetts. Once prevalent on VHS, Laserlight/Delta were the first to put it on DVD (1999, w/Sabotage), which was subsequently copied by many other bootleggers, eg the much-repackaged St. Clair DVD. It often has a particular vintage needle-drop score added but can anyone identify the music used? There are a couple of particularly memorable cues at 2 and 5 minutes. It sounds tantalisingly familiar throughout but has baffled film and classical music buffs and musicians for years; if you have the answer, please leave a comment or let me know!
For completeness’ sake, I’ll mention a sixth official score that doesn’t really fit into the overall pattern established here. When Spain’s Divisa – a kosher label – released the film on VHS in 1995, they opted to use this same transfer as it was the only one available at the time; much like Studiocanal licensing the bootleg print of Juno and the Paycock for DVD 10 years later. Divisa provided a custom but fairly nondescript piano score with a Spanish voiceover reading The Lodger’s English intertitles which, as the transfer runs at sound speed, actually synchronises with the archive version. It’s on YouTube if you’re curious.

UK GMVS/Waterfall bootleg DVD. Yes, it looks bad, but a screenshot doesn’t convey how much the image quality fluctuates – it’s often even worse than this – and constantly bounces around inside the frame. Unwatchable.
Archive version releases
- UK: Network 10-DVD/11-film H: The British Years (2008) – also includes 90min RV1 w/no score
- Italy: Eagle 2on1 DVD (2005) w/Blackmail, also in 8-DVD/15-film AH Portrait
- Germany: Atlas Films/Zweitausendeins VHS (1989) – #1 of AH: 6 frühe Meisterwerke | OFDb, pics
- Concorde 6-DVD/7-film AH: The Early Years (2003, reissued 2011)
We begin a complete rundown of The Lodger’s official releases to date with the archive version, which has a 1989 Zaza score in mono and runs for 71 minutes. All its releases are essentially barebones apart from the UK which also has a scoreless RV1, an intro by Charles Barr and a brief slideshow. The second French also has a gallery and the efficient yet ubiquitous “Hitchcock: The Early Years” featurette (1999, 24min), which appears – and reappears – on just about every other release of Hitch’s ITV-owned British films.
- France: Carlton DVD (2007)
- Opening 2on1 DVD/alt (2003, reissued/alt 2005) w/The Man Who Knew Too Much
- Spain: Divisa VHS (1995) and DVD/alt (2003)
- Benelux: Video/Film Express DVD/alt (2005), also in 5-DVD/6-film H Collection: The Classics, Volume 1 and 10-DVD/11-film Classic H Collection/alt
- Poland: Studio Printel Digipak DVD (2009), also in 7-DVD H: Wczesne filmy mistrza and 6-DVD set
- Sweden: Svenska Film VHS (1997)
Restored version releases
- US: MGM DVD (2008), also in 8-DVD AH Premiere Collection/warning – 99min RV2 w/two scores: Paul Zaza (1989, mono) and Ashley Irwin orchestral (1999, 5.1 surround)
- MGM
Prime Video– 99min RV2 w/Zaza score; deleted due to Criterion acquiring distribution - Criterion 2on1 BD and 2-DVD (2017) w/Downhill – 90min RV3 w/Neil Brand orchestral score (2.0 stereo)
- Criterion Prime Video HD – 90min RV3 w/Brand score
- MGM
- UK: BFI VHS (1999) – 93min RV1 w/Joby Talbot orchestral score (2.0 stereo)
- Network 10-DVD/11-film H: The British Years (2008) – 90min RV1 w/no score; also includes 71-min AV/Zaza
- Network BD/2-CD and DVD/2-CD (2012) – 90min RV3 (87min DVD: 4% PAL speed-up) w/Nitin Sawhney orchestral/pop score (2.0 stereo)
- Network
Prime Video HD|BFI Player– 90min RV3 w/Sawhney score; deleted
- France: Elephant Films DVD/BD and DVD (2014), also in 5-BD/5-DVD AH: Aux origines du suspens – 86min (25fps) RV3 w/Sawhney score; forced French subtitles on BD
- Denmark: Soul Media DVD (2023) – 85min RV1 w/no score
- Australia: Madman 2-DVD (2011) w/Downhill – 95min RV2 w/Zaza and Irwin scores
- Brazil: Versátil 2-DVD/4-film A Arte de AH/alt (2016) info – 90min RV3 w/Sawhney score
Reviewing the evidence
If you intend owning only one copy of the film, by all means get the US Criterion issue. Their US region A/1-locked BD and DVD are awash with extras, not least of which is the restored Downhill. Leading silent film musician Neil Brand provides new scores for both films; his masterful, sympathetic orchestral score for The Lodger is performed by the Covent Garden Sinfonia, while Neil himself plays piano for Downhill. There are also an additional three hours of extras including featurettes, interviews and the 1940 radio adaptation of The Lodger. Lastly, there’s a 16-page foldout leaflet with essays on both films. Phew. The next best DVD is still the US MGM; in terms of image, audio and extras, it’s (foggy) streets ahead of all the others. Even its restored transfer (RV2) improves on that found on the UK Network DVD (RV1), as the image is more detailed and its colours more subtle and refined. Second best DVD is the ultra rare Oz release with two scores, generous extras and an essay booklet.
- The Lodger: The First True Hitchcock Movie [nope!] – Philip Kemp
- 10 Things I Learned: The Lodger – Kate Elmore
The Lodger’s first US DVD was later included in MGM’s Premiere Collection alongside Sabotage, Young and Innocent, Lifeboat and the four Hitchcock-Selznick titles: Rebecca, Spellbound, Notorious and The Paradine Case. Aside from some newer Criterions nudging them into second place, most of the DVDs are still definitive for each film and come beautifully packaged in a large, spiral bound book with a semi-transparent plastic slipcase. But all copies of the collection were originally shrink-wrapped far too tightly, deforming the package and permanently warping many of the discs. This rendered them unplayable and led to hundreds of complaints like this, which mirrors the majority of those on Amazon.com. Subsequent individual releases come in problem-free, standard keep cases with additional four-sided liner notes inserts; I recommend buying those instead.
In contrast to the US releases, the UK region B BD has attracted some controversy for its Nitin Sawhney-composed score, which also accompanied the restoration’s 21 July 2012 première at the Barbican Centre, London. Classically-based and primarily performed by the London Symphony Orchestra, it actually works very well for the most part. But its most conspicuous sin is in Sawhney’s inclusion of a couple of anachronistic, self-penned pop songs – I kid you not – which have drawn the ire of many silents aficionados. They’re perfectly pleasant ditties, but simply belong in another film from a much later time. Or confined to one of Sawhney’s own albums. In this context, their presence simply taints the mood and undermines Hitch’s exquisite visuals. Sawhney’s comments in this news report and BFI interview are very telling and perfectly illustrate his entire attitude towards this project.
The overall package gives a strong impression of being a vehicle for Sawhney’s music accompanied by a Hitchcock film, rather than the other way around. This is further evidenced by the fact there was no cheaper BD or DVD-only release. Sawhney’s presence gets more prominent billing on the sleeve than Hitch himself and the bonus material is centred around the composer rather than the filmmaker or his distinguished cast and crew. Two soundtrack CDs are included but the only on-disc extras are a featurette, Scoring The Lodger with Nitin Sawhney (19min), and a slideshow (2min).
This all a bit light considering this is the key early work from the world’s most famous director, and the best known British silent film of all. The package redeems itself somewhat by including, like the Criterion, a very informative 16-page booklet on the genesis, production and legacy of the actual film. Ironically, among many more deserving vintage and modern scores for Hitch’s British films, Sawhney’s is the only one also available separately in its entirety on CD and MP3.
Incidentally, despite being previously available, as of late 2020 The Lodger cannot be purchased on streaming platforms in the UK. Does anyone know why? Whatever the reason, it only underscores the fact that however you feel about physical versus streaming media, the former remains the best option by far when it comes to seeing classic films in the home.
The Sawhney-scored French region B disc manages to stay more on point with a short video intro in French (8min) and a Hitchcock 9 featurette (9min) and the previous “Hitchcock: The Early Years” featurette to round off. But beware, this BD edition does have two unforgivable flaws: forced French subs, though strangely they’re optional on the concurrent DVD, as with Elephant Films’ other four Hitchcocks, and a 1080i transfer running 4% fast at 86min. Lastly, beware the slipshod Spanish and German bootleg BD-Rs from Feel Films and Indigo/Great Movies respectively; the latter has been ripped from the French BD but stripped of its tinting.
Note that at the end of 2022, The Lodger entered the US public domain only, 95 years after its original 1927 general release. But there’s more to it than that. It only applies to unrestored B&W prints, not any of the preserved or restored, newly tinted and scored versions. In all cases, they meet the threshold of originality and easily qualify as derivative works with full-term copyrights. In the rest of the world, all versions of the film, restored or otherwise, remain copyrighted until at least 2050: Hitch’s 1980 death + 70 years.
I’ll qualify my comments by reiterating the majority of fans will thoroughly enjoy any of the official releases and they’re all infinitely better than the many bootleg versions. None of the four licensed transfers of The Lodger itself are slouches, and all use their relatively limited but authentic colour schemes of differing shades of amber, sepia and blue most effectively. Factor in their generally great scores and you’re bound to have a very satisfying viewing experience. It’s just a pity several recent releases are some way short of all they could be, and not for reasons of production costs. In conclusion, via MGM and Criterion, the US has by far and away the best DVDs and BD of The Lodger to date. As I keep saying, if you can’t play overseas releases, get a multi-region set-up and enjoy your favourite films done properly. Go on: you know you’re worth it.
The Lodger, Part 1: Production, 2: Dispelling myths, 3: Home video, 4: Remakes
Related articles
This is part of a unique, in-depth series of 150-odd Hitchcock articles.