Hitchcock’s luck changed with his first thriller, The Lodger: A Story of the London Fog (1927), about the hunt for a serial killer who, wearing a black cloak and carrying a black bag, is murdering young blonde women in London, and only on Tuesdays.[59] A landlady suspects that her lodger is the killer hair extensions, but he turns out to be innocent. Hitchcock had a glass floor made so that the audience could see the lodger pacing up and down in his room above the landlady.[60] Hitchcock had wanted the leading man to be guilty, or for the film at least to end ambiguously, but the star was Ivor Novello, a matine idol, and the “star system” meant that Novello could not be the villain. Hitchcock told Truffaut: “You have to clearly spell it out in big letters: ‘He is innocent.'” (He had the same problem years later with Cary Grant in Suspicion (1941).)[61] Released in January 1927, The Lodger was a commercial and critical success in the UK.[62] Hitchcock told Truffaut that the film was the first of his to be influenced by the Expressionist techniques he had witnessed in Germany: “In truth, you might almost say that The Lodger was my first picture.”[63] He made his first cameo appearances in the film, purely because an extra body was needed, sitting in a newsroom and later standing in a crowd as the leading man is arrested.[64].
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