THE LODGER (1944) still Merle Oberon Laird Cregar x4, probable restrike stunning

$5.0 Buy It Now or Best Offer
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Seller Store larry41
(11712) 100.0%,

Location: Miamisburg, Ohio
Ships to: US,
Item: 126745921978

Restocking Fee:No
Return shipping will be paid by:Buyer
All returns accepted:Returns Accepted
Item must be returned within:30 Days
Refund will be given as:Money back or replacement (buyer’s choice)
Industry:Movies
Size:8″ x 10″
Object Type:Photograph
Original/Reproduction:Original
Style:Black & White
Country/Region of Manufacture:United States

(This looks MUCH better than this pictures above.) THE LODGER (1944) still Merle Oberon, Laird Cregar X4, probable restrike A REAL COLLECTOR’S ITEM! A photo restrike is a second-generation print made from the same plate as the original, but after the initial run. The time between the original and the restrike can vary from a month to several years. This would look great framed on display in your home theater or to add to your portfolio or scrapbook! A worthy investment for gift giving too! PLEASE BE PATIENT WHILE ALL PICTURES LOAD After checking out this item please look at my other unique silent motion picture memorabilia and Hollywood film collectibles! SHIPPING COST CAN BE CUT WHEN SHIPPING MULTIPLE ITEMS TOGETHER AND SAVE $ See a gallery of pictures of my other auctions HERE! This photograph is a real photo chemical created picture (vintage) and not a copy or reproduction. DESCRIPTION: The Lodger, the 1944 John Brahm London England Scotland Yard serial killer suspense murder horror crime thriller («From the novel by Marie Belloc-Lowndes») starring Merle Oberon, George Sanders, Laird Cregar (in the title role as Slade the Lodger & Jack the Ripper), Sir Cedric Hardwicke, Sara Allgood, and Aubrey Mather CONDITION: This vintage 8” x 10” still photograph is in Near MINT physical condition with only faint scuff marks (old yes, with an excellent detailed image that is possibly an original or maybe a better restrike.) SEE PIX FOR MORE DETAILS. A photo restrike is a second-generation print made from the same plate as the original, but after the initial run. The time between the original and the restrike can vary from a month to several years. Finally, this is a vintage. (This is NOT a cheap digital dupe, a re-release or copy, it is a real vintage photograph made the year of the release of the film or soon after.) SHIPPING: Domestic shipping would be USPS Ground Advantage (includes $100 insurance) and well packed in plastic, with several layers of cardboard support/protection and delivery tracking. The USPS has removed FIRST CLASS from eBay’s postage label system. (Darn it!) International shipping depends on the location, and the package would weigh close to a half a pound with even more extra ridge packing. PAYMENTS: Please pay PayPal! All of my items are unconditionally guaranteed. E-mail me with any questions you may have. This is Larry41, wishing you great movie memories and good luck… BACKGROUND: “It’s London’s autumn of terror 1888 when Jack the Ripper stalked the slums of Whitechapel to eviscerate gin-soaked prostitutes and shake the capital of the British Empire to its foundations. John Brahm’s movie opens on the gas-lit and fog-wreathed cobblestones, evocatively shot by Lucien Ballard, in this umpteenth recension of Marie Belloc Lowndes’ evergreen chiller The Lodger (Alfred Hitchcock did a silent treatment in 1927, and Jack Palance would star in Man in the Attic in 1954 , to name but two of its closest cousins). The crafty Mrs. Lowndes may have been the first to use that surefire scare tactic `the call is coming from inside the house!’ The gimmick of her story is that the fiend has a respectable face and may have taken lodgings under a respectable roof while its respectable occupants remain oblivious but imperiled. Brahm’s choice of lodger is Laird Cregar, whose enormous bulk he was six-three and 300 pounds made him look perpetually 45, though he was only 28 when he died, shortly after making this movie. (His last, released posthumously the following year, was the somewhat similar Hangover Square, which Brahm also directed). The rooms he takes (including an attic `laboratory’ complete with gas fire for his experiments) belong to Cedric Hardwicke and Sara Allgood, whose niece Merle Oberon, a music-hall star, lives there as well. When Laird is invited to attend one of Oberon’s can-can numbers, he rants and raves about painted and powdered woman and finally erupts: `I can show you something more beautiful than a beautiful woman,’ whereupon he produces a photograph of his dead brother, who came to ruin through consorting with wicked women (there’s the merest insinuation of syphilitic insanity). Clearly, the lodger has unresolved issues. The Ripper legend and Lowndes’ telling of it are so familiar it needs no retracing, save to note that George Sanders plays the smitten Scotland Yard Detective and that Brahm delivers all the expected chills. But then this German emigrant always fared better with the spooky and the Victorian than with the hard-boiled and American. The Lodger counts among his finer hours-and-a-half.”

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