1976 ‘Le locataire’ Directed by Roman Polanski
A quiet and inconspicuous man 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.
Roman Polanski Isabelle Adjani Melvyn Douglas Bernard Fresson Shelley Winters Gérard Jugnot Josiane Balasko Raoul Guylad Lila Kedrova Jo Van Fleet Claude Piéplu Rufus Romain Bouteille Jacques Monod Patrice Alexsandre Jean-Pierre Bagot Jacky Cohen Bernard-Pierre Donnadieu André Penvern Albert Delpy Louba Guertchikoff Claude Dauphin Éva Ionesco Maïté Nahyr Florence Blot Michel Blanc
L'inquilino del terzo piano, El inquilino, 테넌트, Жилец, Der Mieter, El quimérico inquilino, Leieboeren, Наемателят, El quimèric inquilí, Nájemník, Ο Ενοικος, El inqulino, Le Locataire, הדייר, A lakó, テナント 恐怖を借りた男, Nuomininkas, Lokator, O Inquilino, Hyresgästen, Kiracı, Орендар, 怪房客
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France16
USAR
Italy
Netherlands12
UK18
Germany16
France
Germany
Italy
Netherlands
UK
USA
Wanted to revisit this film (after not having watched in over 30 years) for Sven Nykvist's incredible work. Every shot is gorgeous. And production design by Pierre Guffroy (The Unbearable Lightness of Being) is so rich in detail. I see fewer and fewer modern films achieving this level of craft.
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…
This was an interesting movie but it was also a bit too slow and many scenes dragged or felt pointless.
The story was great but it just took a long time for it to really get going. When it finally got going it was weird and creepy, while keeping us guessing whether the neighbors are crazy or if it is all inside his head.
The acting was great and so was the characters they were playing. They had a good chemistry and were believable in their roles.
The cinematography was good too and only got better near the ending where shit really started to get crazy.
It is a shame that the movie was so long and slow, since it…
If i was in a coma and r*man p*lanski was standing next to me i would have screamed too
"I'll tell the cops you little shit" -Bar Patron,
Sometimes I don't vibe with a film... at all. It looked cool though, except for Roman Polanski's stupid face.
"These days, relationships with neighbors can be quite complicated. You know, little things that get blown up out of all proportion"
Esoterically explores the themes of xenophobia and self-assimilation in a true Polanski fashion, by making it into a genre piece about a man and his slow descent into madness due to his shitty bathroom-less apartment. Not quite the towering masterpiece of satanic sanctification in an urban landscape that is rosemary's baby, or the genuinely terrifying fever dream of childhood trauma by the opposite sex that is repulsion, but this is still a deeply idiosyncratic and frequently eerie work by one of the most contemptible figures that have emerged out of the tumultuous '60s.
Polanski carefully concocts Trelkovsky's decaying psyche…
"Tell me—at what precise moment does an individual stop being who he thinks he is?"
The concluding installment of Roman Polanski's unofficial "Apartment trilogy" is The Tenant (Le locataire), a housebound, Parisian-set paranoid thriller that borrows liberally from the two preceding entries.
The scenario follows and—to a certain extent—assumes the perspective of Trelkovsky (Polanski), a timid French immigrant of Polish extraction who acquires a coveted flat following the prior occupant's dramatic suicide attempt. Perhaps urged by a sense of compunction, he visits the terminal renter in the hospital—there incidentally encountering his sometime love interest Stella (Isabelle Adjani). From this point on Trelkovsky falls not very gradually into a state of paranoid psychosis, wherein he is convinced of a widespread conspiracy to…
