Laugh (1924). He was impressed with Murnau's work and later used many of his techniques for the set design in his own productions. In the summer of 1925, Balcon asked Hitchcock to direct The Pleasure Garden (1925), starring Virginia Valli, a co-production of Gainsborough and the German firm Emelka at the Geiselgasteig studio near Munich. Reville, by then Hitchcock's fiancée, was assistant director-editor. Although the film was a commercial flop, Balcon liked Hitchcock's work; a Daily Express headline called him the "Young man with a master mind". Production of The Pleasure Garden encountered obstacles which Hitchcock would later learn from: on arrival to Brenner Pass, he failed to declare his film stock to customs and it was confiscated; one actress could not enter the water for a scene because she was on her period; budget overruns meant that he had to borrow money from the actors. Hitchcock also needed a translator to give instructions to the cast and crew. In Germany, Hitchcock observed the nuances of German cinema and filmmaking which had a big influence on him. When he was not working, he would visit Berlin's art galleries, concerts and museums. He would also meet with actors, writers, and producers to build connections. Balcon asked him to direct a second film in Munich, The Mountain Eagle (1926), based on an original story titled Fear o' God. The film is lost, and Hitchcock called it "a very bad movie". A year later, Hitchcock wrote and directed The Ring; although the screenplay was credited solely to his name, Elliot Stannard assisted him with the writing. The Ring garnered positive reviews; the Bioscope magazine critic called it "the most magnificent British film ever made". When he returned to England, Hitchcock was one of the early members of the London Film Society, newly formed in 1925. Through the Society, he became fascinated by the work by Soviet filmmakers: Dziga Vertov, Lev Kuleshov, Sergei Eisenstein, and Vsevolod Pudovkin. He would also socialise with fellow English filmmakers Ivor Montagu and Adrian Brunel, and Walter C. Mycroft. Hitchcock established himself as a name director with his first thriller, The Lodger: A Story of the London Fog (1927). The film concerns the hunt for a Jack the Ripper-style serial killer who, wearing a black cloak and carrying a black bag, is murdering young blonde women in London, and only on Tuesdays. A landlady suspects that her lodger is