Alfred Hitchcock’s iconic silent film, *The Lodger: A Story of the London Fog* (1927), has undergone a surprising transformation, now presented as a vertical microdrama for mobile viewing. Streaming platform Tattle TV has announced this innovative move, sparking debate over whether this reformatting is a groundbreaking advancement or a questionable reinterpretation of cinematic history. While US audiences will soon experience this new take, viewers in the UK and EU will sadly miss out due to licensing issues.
A Modern Take on a Silent Classic
Tattle TV claims to be pioneering the concept of adapting classic films for a vertical, mobile-first audience, presenting *The Lodger* in a format that stretches or crops the original 4:3 aspect ratio to fit smartphone screens. This decision raises questions: Can the essence of a film survive when its visuals are compromised? Alfred Hitchcock, a director known for his meticulous framing, would likely have some reservations about this approach. His opening scene—a haunting close-up of a terrified woman—loses its impact when portions of the frame are missing. As Hitchcock once articulated, he conveyed ideas through visual storytelling. One must wonder if the narrative integrity remains intact when the visuals are altered.
The Rise of Microdrama
This reimagined version of *The Lodger* will be divided into chapters, allowing viewers to engage with the content in bite-sized segments—an attempt to cater to the modern consumer’s preference for short-form media. The first couple of chapters will be available for free, but viewers must pay to access the entire film. Historically, Hitchcock believed that a film’s length should be aligned with the average human bladder’s endurance—around 90 minutes. However, this shift towards microdrama reflects a broader trend in the film industry, where attempts to create engaging short content have met with mixed success.
Even though Hitchcock adapted to new technologies throughout his career—such as shooting Britain’s first talkie, *Blackmail* (1929)—his films were crafted to maximise the cinematic experience. The transition to vertical microdramas may not do justice to his legacy, especially when considering that silent films were designed for a different viewing context altogether.
Bridging the Gap or Creating a Divide?
Tattle TV’s goal appears to be bridging the generational gap between classic cinema and today’s digital audiences. By repurposing such films, they aim to introduce iconic narratives to a new wave of viewers who predominantly consume media on their mobile devices. However, sceptics might argue that this strategy is merely a tactic to generate online outrage among cinephiles, thus promoting the app through controversy.
The question remains: Is it better to reframe classic films for contemporary tastes or to create new content that resonates with today’s viewers while respecting the artistry of the originals? Remakes might prove a more effective way to engage younger audiences with cinematic history.
The Bigger Picture
Interestingly, research from the University of Sussex indicates that social media scrolling is one of the least enjoyable activities people engage in, while the British Council has found that younger generations view film and TV as far more impactful than digital content. This insight suggests that the rise of platforms like Letterboxd may indeed be inspiring a resurgence in cinema attendance among younger demographics. Perhaps Tattle TV’s experiment will encourage more individuals to experience classic films in their full glory on larger screens, with the accompanying live scores that enhance the original viewing experience.
Why it Matters
The transformation of *The Lodger* into a vertical microdrama encapsulates a larger conversation about the future of cinema in a digital age. As traditional film experiences clash with modern consumption habits, this adaptation raises vital questions about the preservation of artistic integrity in the face of technological evolution. Will this approach lead to a revival of interest in classic cinema, or will it dilute the very essence of what makes these films timeless? As we grapple with these changes, the future of cinema hangs in the balance, urging us to consider how we can honour the past while innovating for the future.
