- Shopping Bag ( 0 items )
|Melvyn Douglas||Monsieur Zy|
|Jo Van Fleet||Madame Dioz|
|Claude Dauphin||Man in Car|
|Folco Jacques Monod||Cafe Owner|
|Michel Blanc||Scope's Neighbor|
|Florence Blot||Mme. Zy|
|Bernard-Pierre Donnadieu||Bar Waiter|
|Eva Ionesco||Mme. Gaderian's Daughter|
|Gérard Jugnot||Trelkovsky's co-worker|
|Helena Manson||Head Nurse|
|André Penvern||Cafe Waiter|
|Francois Viaur||Police Sergeant|
|Roman Polanski||Director, Screenwriter|
|Hercules Bellville||Executive Producer|
|Marc Grunebaum||Asst. Director|
|Pierre Guffroy||Production Designer|
|Claude Moesching||Art Director|
|Albert Rajau||Art Director|
|Hubert Rostaing||Musical Direction/Supervision|
|Philippe Sarde||Score Composer|
|Alain Sarde||Associate Producer|
|Eric Simon||Production Designer, Set Decoration/Design|
Posted October 1, 2010
A lot of people look at Roman Polanski's other movies and don't know what to make of them. Are they to be taken seriously? Is THE NINTH GATE really a thriller, or a comedy, or both? I think that the key to Polanski's work is THE TENANT. This is a thriller, which on the surface seems like a dead-serious movie...but Polanski injects so much bizarre, edgy comedy into it that in the end, you wind up in a place where you're not sure whether to laugh or be moved. It's a very special, very unique, very thrilling film that also happens to be very funny. Intentionally so.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted October 1, 2010
You will never look at a staircase in quite the same way again. Pushing just about every button that's connected to something you don't want to think about, Roman Polanski's The Tenant is hilarious and deeply disturbing. One of the sickest, most cynical, bitter, emotionally cruel films I've ever seen. It's wonderful!Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted October 14, 2002
The Tenant truly is an unsettling experience...everything about it is spooky. From the opening credits..to the music..to the strange assortment of characters. Polanski as usual displays his subtlety, sardonaic wit and his masterful skills as a director.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted January 15, 2001
This is my all-time favorite movie, so automatically I'm biased. But I'll try to be objective; I realize the movie isn't perfect. But it is without a doubt one of Roman Polanski's most personally significant films; not only is it the third film of a trilogy comprised with REPULSION and ROSEMARY'S BABY, but along with his next film TESS, it is one of the films that most accurately captures the director's aesthetic: one of absurd, hopeless despair. Nowhere are his films more pervaded with a sense of doom and tragedy than in this one (with the exception of his incredible adaptation of MACBETH). Polanski himself plays the title role of a timid man who stumbles onto a small, seedy Parisian apartment in a biulding populated mostly by bitter elderly couples. Almost immediately he is mystified by the suicide of the previous tenant (whom he goes to see in the hospital, only to find a comatose wreck swathed in bandages like a mummy). He snoops through her left-behind belongings, reads all her old letters and books, and eventually begins to wear her makeup and clothing, going so far as to purchase a wig and high-heels. He even courts the dead girl's friend (Isabelle Adjani, looking rather frumpy). All of this is done rather unconsciously; he seems to black out during these transvestite episodes, during which he experiences frightening hallucinations. He believes that the neighbors are subtly trying to drive him insane. A very macabre film, but tinged with dazed humor. A fitting end to the aforementioned trilogy of psychological case studies begun with REPULSION. If you enjoyed that film and/or ROSEMARY'S BABY, you might enjoy this one. Of course, it's directed with typical flair, and the score by Phillipe Sarde is very suitable to the film. Sven Nykvist (Ingmar Bergman's cinematographer) does a good job of contributing to the feel of the movie. Not up to the standards of the previous CHINATOWN on the level of entertainment, but a fascinating film in its own right and, in my opinion, one of the director's truly unique films.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.