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Hitchcock's most successful silent movie, as he himself acknowledged to Francois Truffaut, was the first that could plausibly be called Hitchcockian. This variation on the hunt for Jack the Ripper features themes and motifs that would recur throughout Hitchcock's career: the suspected killer who may be innocent (see Suspicion and The Wrong Man, just for starters); the heroine who loves him but who may yet become his next victim; the phantasmagoric nocturnal London that will reappear in Sabotage and Frenzy; the bravura set-piece sequences and a thirst for technical innovation (here it's a glass ceiling through which we see from below the neurotic lodger relentlessly pacing his room); the first Hitchcock cameo appearance (two, in fact), and the familiar haze of sexual obsession that would overhang his career like another kind of fog.