Essentially an American re-working of John Brahm's masterpiece, THE LODGER(..itself a reworking of Hitchcock's silent), director Hugo Fregonese's MAN IN THE ATTIC is still a commendable, atmospheric take on the notorious Jack the Ripper with Jack Palance taking a crack at the infamous White Chapel serial killer, and completely mesmerizing in the role, in my opinion, displaying the tormented soul behind a calm exterior slowly beginning to falter as his infatuation and desire for famous dance hall actress Lily Bonner(Constance Smith)grows. This version is less subtle than Brahm's film with dialogue, behavior, and certain situations often implicating the mysterious lodger, Jack Slade, more than the previous incarnation. For instance, Helen Harley(Frances Bavier, Aunt Bea on the Andy Griffith Show)almost immediately suspects Slade of being the Ripper, never trusting him and always snooping about trying to prove that he is. The film has a scene where Slade talks about his mother to great length calling to our attention why he targets the hookers and female drunks which leave bars for their respected homes. An interesting difference in this film version is that Lily falls in love with Slade, even planting a kiss on him(..I love the reaction of Palance, completely taken aback and discomforted with such an embrace). There are many instances, though, where this is almost shot-for-shot similar to Brahm's film such as Slade's burning materials which could implicate him and the way the murders are set up which instantly bring to mind THE LODGER.
The film opens with a White Chapel murder, followed by Slade asking the Harleys, William(Rhys Williams)and Helen for a room to let. Soon Slade becomes acquainted with their niece, Lily, bound for super-stardom, and the family dog who takes a liking to him. Slade is withdrawn and quiet, mysterious and creepy, leaving the house at night to supposedly work on his research of blood diseases at a nearby hospital(..he's a pathologist;often working in the Harley's attic he's also paying for monthly). Soon Scotland Yard Inspector Warwick(Byron Palmer, a poor contrast to the great George Sanders)is passing by the Harley's to question Lily regarding the death of a former dance hall queen murdered by the Ripper(..also using his advantages as a detective to get a date with her;himself interested with Lily after seeing her perform one of her lurid shows)and locking horns with Slade who finds his terminology for murderers sickening and crude. This film, unlike THE LODGER, has Slade slowly getting more and more paranoid because of the nervous attitudes of those around him yearning for trust despite the fact that his behavior is indeed questionable. And, the finale changes drastically(..although, I rather like it about as well as the fantastic chase through the theater of THE LODGER)with Slade leaving the theater, after halting himself from stabbing Lily out of his love and devotion for her, forcing through guards, grabbing a coach, driving horses down the streets of London as Insp. Warwick(..and the police)are in hot pursuit. It's interesting comparing the performances between Laird Cregar(..who is nothing short of phenomenal)and Palance, even though I often loathe such things. Palance is always nervous(..look how he fingers the rim of his hat while talking to Lily or others), or on end, for the most part, able to control his emotions, particularly around Warwick(..although, magnificently, Fregonese's camera is able to capture his detest for the inspector and his descriptions for Jack the Ripper, or murderers in general)who challenges him the most. 20th Century Fox(..who also produced THE LODGER)again produce an effective period mood, with wonderful sets and stunning noirish photography. This is an undiscovered gem that is not talked about near enough, which is a shame, mainly because the cast isn't as strong(..or as British)as THE LODGER. Palance's faithful owe it to themselves to check this out.