This is for the 2015 (1st) edition of the list. For the 2016 (2nd) edition, go here.
A quiet and inconspicuous man (Trelkovsky) rents an apartment in France where the previous tenant committed suicide, and begins to suspect his landlord and neighbors are trying to subtly change him into the last tenant so that he too will kill himself.
Part of Hoop-Tober
“What if she gets better?” “Don’t worry, she won’t get better.”
Nature, it is said, abhors a vacuum. If my cat’s reaction to my Dyson is any indication, this axiom is unimpeachably true. The maxim is usually attributed to Aristotle (in the appealingly macabre form of “horror vacui”), who believed that any theoretical void would be filled by surrounding material, instantly wiping it out. Nothing—the absence of something—cannot really exist, for something will always take nothing’s place.
This ancient principle underlies Roman Polanski’s The Tenant, the third and final entry in his so-called “Apartment Trilogy” (after Repulsion and Rosemary’s Baby). Each of the trilogy's films brilliantly explores the disadvantages and incipient paranoia of close-quarters city dwelling (paranoia…
I'm so tired of crossdressing being depicted as a sign of insanity. How would you like it if every fucking film you watched had, I dunno what you are, but whatever you are as a sign of insanity? Fucking hell.
October count: 26/31.
Roman Polanski's The Tenant builds a myriad of psychological layers around the director cast in the central role of Trelkovsky. It is a film often grouped together with Rosemary's Baby and Repulsion under the 'apartment trilogy' banner although this film develops into far more mysterious and complicated film than the other two.
His decision to cast himself as the films protagonist is an odd one given his lack of prominence infront of the lens previously. Only twelve months later he would face a life defining moment with accusations of rape reshaping his artistic approach. As such it is suggested that The Tenant is heavily autobiographical.
Polanski makes it crystal clear that this timid newcomer to the building is struggling to…
so here's a strange story.
i watched this today assuming that i had never before seen "the tenant", but i wanted to finish polanski's "apartment trilogy," especially because i love "repulsion" and "rosemary's baby."
at first i found "the tenant" unfamiliar - and to be honest, kind of dull - but then it began getting weirder...more uncanny.
which is to say, more familiar in its unfamiliarity.
something (may have?) clicked.
when polanski reveals the tenant, trelkovsky, to be a cross-dresser (posing as a former tenant), i realized that this is a film that may've haunted me for years.
i saw a similar movie on t.v., probably when i was about 12 or 13, and i have never forgotten its manic…
This review may contain spoilers. I can handle the truth.
I tried to watch this once, years ago but I fell asleep and had no interest in watching it again after that initial attempt. Fast forward years later and I've finally watched it in it's entirety, especially after the urging of some friends to give it another chance.
I was mildly disappointed by The Tenant, the slow start was a little on the sluggish side for my tastes. The second hour really picked up in the bizarre and often creepy area that I expected from the first hour of the film. I'm not opposed to the random inserts of comedy we experience, that wasn't my problem at all with the first half, I think I just wanted more development when…
Tercer domicilio claustrofóbico en la filmografía de Polanski, tercer descenso a la locura y otra joya más de las muchas que nos ha regalado el maestro.
Su dominio absoluto de los entresijos del punto de vista cinematográfico hacen de 'Le Locataire' la más ambigua de sus tres inmersiones en el terreno del delirio, ya que no se apuesta completamente ni por la neurosis ('Repulsion') ni por la conjura de terceros ('Rosemary's Baby'), pero nada se descarta tampoco. Es más, su desolador punto final parece querer llevar la obra al ámbito de lo puramente alegórico, haciendo uso de uno de los bucles más desasosegantes de la historia del cine.
Debió ser muy del gusto, digo yo, de Topor, Arrabal y compañía.
The Tenant judders towards its utterly bonkers conclusion with all the strangeness of Rosemary's Baby but less of the craft. Still, its stark ambiguity and weirdness has to be appreciated, even in its distressing moments.
Overall The Tenant is really great and super interesting, and other than a handful of things, this film is almost perfect. An amazing conclusion to Polanski's apartment trio.
Rosemary's Baby-redux. Why couldn't the actors just speak in French!?
One of my Top 5 favorite movies.
I may be crazy, but am I the only person who noticed this:
When he dons a long red wig /dress / heels, cradles his belly and then creepily says "I think I'm pregnant" while posing in the mirror, I'm almost certain he is referencing his murdered-while-pregnant wife, Sharon Tate... Am I crazy, I've always thought this, and it adds SO MUCH to the scene for me.
"What right has my head to call itself me? What right?" — Roman Polanski when he gets whiskey dick.
Despite Roman Polanski doing his best Tommy Wissaeu impression, and despite the weird funky porn soundtrack, and despite the godawful dubbing: this movie was pretty enjoyable. The weird production exacerbates the surreal strangeness that drips over every scene. *The Tenant* keeps feeling like a Kafkaesque Buñuel comedy by way of Roeg, and though the surrealism drops into an unnerving acid trip when it finally hits it stays funny the way Kafka stories are funny.
This review may contain spoilers. I can handle the truth.
In one scene, Polanski sits in a park, just staring at children, and then proceeds to back hand one of these children for reason I cannot comprehend. That fairly much sums up the film.
Also, it's a bit like Punch Drunk Love, where I wish anyone other than Roman Polanski was the lead actor, because Polanski sticks out like a sore thumb. Was Polanski just not on speaking terms with Cassavetes at this point in his career?
I usually try and maintain that there's a huge difference between films that are deliberately awkward as a means to an end and films that simply become awkward due to incompetence, but this is a serious test of just how thin the line between the two can be. Making something bizarre and off-key as a way of generating a sinister, disturbing atmosphere is a difficult tightrope to walk for anyone not named David Lynch, and it's one that Polanski had miraculously managed before with Rosemary's Baby (and possible some of his other work, although since the only other one I've seen is the decidedly non-awkward Chinatown, I can't really say). Here, it doesn't fully work out, and what should be…
'The Tenant' is the third film in Roman Polanski's 'Apartment Trilogy' after 'Repulsion' and 'Rosemary's Baby'. Like those films it deals in a heavy dose of paranoia and a little bit of sexual repression to boot. The films see's Polanski's Trelkovsky moving into an apartment building where the previous tenant committed suicide by jumping out the window. The film's languid pacing eventually sees the paranoia reach fever pitch as Trelkovsky believes the neighbours are trying to induce madness in him, slowly but surely turning into the woman who killed herself previous to his tenancy. The paranoia is supported by surrealism and offset by humour, the film really does have a rather offbeat sensibility running through its bones. It is little…
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…