I don't know if Roman Polanski's 1976 film, THE TENANT was a hit or not. I do remember seeing it when it came out, but I also remember mainly being impressed that we were shown the preview for CARRIE. As a kid I was bored by this film. As an adult I see it in a whole other light. True, it is a horror film filled with tension and a sort of un-nerving quality that Polanski used to be so exceptional at creating. However, the "pay-off" is not typical horror film fare. In fact, there is nothing "normal" about this film. However, if you're a movie fan --- you will note that it has had a most definite impact on other filmmakers.If you've a taste for the unusual or challenging cinema and you've not ever seen this film --- you would be well advised to check it out. I will not give any spoilers. But this film is much more than a study of a disturbed psyche or a surreal horror movie. I actually think it shares a great deal of relation to Polanski's later and more traditional film, THE PIANIST.
I think this experimental film is actually a study on alienation, isolation and the unforgivable impact of the Holocaust.
...To be different is to be suspect. ...To be different is a threat. In many ways, to be different is the worst of all crimes ...To be different can set one up to be viewed as the ultimate evil -- and victimized beyond any reason. ...And, to eyes too far removed --- it can be too difficult to believe. And, to dare to be different and defy those who would judge of punish you for it requires a great deal of bravery and can be reduced to paranoia. This scenario is really the ultimate human horror.Just like THE EXORCIST is far more than a movie about a little girl possessed by a demon --- it, in many ways, is a product of it's odd time in the US's socio-political history. All social norms were being questioned and religion was at the top of the list. And, if ever there was a time that parents felt their children to be beyond their control it would have been during the late 60's and into the early 70's. THE EXORCIST takes a parental fear and turns it on its head. The impact of that idea/message has been somewhat lost over the years. However -- racism, fascism and sex intolerance is sadly on the upswing.
Society has always condemned those who are too far outside its social-political norms. And, anyone perceived as possibly having the potential to assert power is a threat. Polanski has never shy'd away from presenting women as smart, tough and unwilling victims of circumstance. In THE TENANT this idea is very present.
There are actually several "female leads" in this movie. (you would need to see the film to understand that statement) ...Isabelle Adjani was an unusual choice for one of these "leads", but a good choice.
If you're familiar with French accents --- switch the DVD to "French Audio" to hear Adjani's real voice ---- she plays the role with what sounds like a heavy Belgium accent. ...An outsider in Paris. ...Different. Even in the theatrically released version (another actress dub'd in English) --- she speaks in a manner ill-suited to her circumstances. It works quite well.Actually, I feel the only real flaw with this film is in the dubbing. Due to Polanski's controversial run from the US --- this film was shot in France. (I don't want to "go there" regarding that run --- that would be more than a blog post!) However, he opted to shoot this film in English using a large roster of famous old-time Hollywood film stars (Melvin Douglas, Shelley Winters and Jo Van Fleet) and mixing them with a lot of French actors. Some actors are speaking English and some are speaking French. It appears that Polanski alternates. Sometimes his lips match his voice and sometimes they don't. Switching to the French track will not help because then all the American actors are off. ...It is particularly odd to see Shelley Winters off-dub with a French actress' voice. The only dub which actually works is the one used for Adjani. I suppose this was before Adjani had mastered English.
Even still, this is really not a big deal. Once you adjust to this world of odd dubs --- it actually works with Polanski's surreal vision.
And, of course, you can't go wrong when Ingmar Bergman's DP --- The Great Sven Nykvist --- is behind the camera -- you can anticipate visual magic.
Sven Nykvist was simply one of if not the best artist to touch cinematography thus far. And, his work for this film is amazing! I'm far too lazy to do any on-line research. (sorry) --- but if you know more about the production of this film or if I've misunderstood some of what Polanski was trying to do -- please feel free to correct me! But, if you've not seen it -- give it a shot! It is available on DVD everywhere in the world! NetFlix it!
.jpg)