The Tenant

1976 film by Roman Polanski
the novel by Roland Topor

The Tenant is a 1976 French psychological horror thriller film directed by Roman Polanski from a screenplay he co wrote with Gérard Brach, based on the 1964 novel of the same name by Roland Topor. The film stars Polanski, Isabelle Adjani, Melvyn Douglas, Jo Van Fleet, Bernard Fresson, Lila Kedrova, Claude Dauphin and Shelley Winters. It is the final installment in Polanski's "Apartment Trilogy", following Repulsion (1965) and Rosemary's Baby (1968).

Trelkovsky, a quiet and unassuming man, rents an apartment in Paris whose previous tenant, Egyptologist Simone Choule, attempted suicide by throwing herself out of the window and through a pane of glass below at 39 Rue de Calais. Before moving in officially, he meets the concierge, who shows the apartment to him, and also shows him where Simone fell. Nobody has any idea why she was suicidal. Trelkovsky visits Simone in the hospital but finds her entirely in bandages and unable to talk. Whilst still at Simone's bedside, Trelkovsky meets her friend, Stella, who has also come to visit. Stella is overwhelmed with emotion and begins talking to Simone, who looks towards her visitors and screams monstrously. The matron insists they leave, having already informed Trelkovsky that he may not speak to Simone. Trelkovsky tries to comfort Stella but dares not say that he never knew Simone, instead pretending to be another friend. They leave together and go out for a drink and a movie where they fondle each other. Outside the theatre, they part ways. Later, Trelkovsky calls up the hospital to enquire about Simone and is told she has died. As Trelkovsky occupies the apartment, he is chastised repeatedly by his neighbors and landlord, Monsieur Zy, for hosting a party with his friends, apparently having a woman over, making too much noise in general, and not joining in on a petition against another neighbor. Trelkovsky attempts to adapt to his situation but is increasingly disturbed by the apartment and the other tenants. He frequently sees his neighbors standing motionless in the toilet room (which he can see from his own window), and discovers a hole in the wall with a human tooth stashed inside. He discusses this with his friends who do not find things strange and belittle him for not standing up to his neighbours. He visits the apartment of one of his work friends who plays a marching band record at a spitefully loud volume. A neighbour politely asks him to turn down the music, as his wife is ill and trying to sleep. Trelkovsky turns the record down, but his friend tells the neighbour that he will play his music as he wants, and that he does not care about his sick wife. He receives a visit from one Georges Badar, who secretly loved Simone and has believed her to be alive and well. Trelkovsky updates and comforts the man and spends the night out with him. He receives a postcard that Badar had posted before realising Simone had died. Frequenting the nearby café which Simone also patronised, he is recognized as the new tenant of her apartment. The owner pressures him into having Simone's regular order, which is then always given to him without being ordered, against his preferences. They are always out of his preferred choice of cigarette, Gauloises, so he develops a habit of ordering Marlboros, which Simone used to order. Trelkovsky becomes severely agitated and enraged when his apartment is robbed, while his neighbors and the concierge continue to berate him for making too much noise, and his landlord warns him not to inform the police of the burglary. Suffering from fever and bad dreams, he wakes up one morning to find his face made up. He buys a wig and women's shoes and goes on to dress up (using Simone's dress, which he had found in a cupboard) and sit still in his apartment in the dead of night. He suspects that Zy and the neighbors are trying to subtly change him into the last tenant, Simone, so that he too will kill himself. He becomes hostile and paranoid in his day to day environment (snapping at his friends, slapping a child in a park) and his mental state progressively deteriorates. He has visions of his neighbors playing football with a human head, finding the toilet covered in hieroglyphs, and looking across the courtyard, seeing himself standing at his apartment window, looking into the bathroom with binoculars. Trelkovsky runs off to Stella for comfort and sleeps over, but in the morning after she has left for work, he concludes that she too is in on his neighbors' plot, and proceeds to vandalise and burgle her apartment before departing. At night he is hit by an elderly couple driving a car. He is not injured too seriously, but receives a sedative injection from the doctor due to his odd behavior – he perceives the elderly couple as his landlord Zy and wife, and accuses them of trying to murder him. The couple returns him to his apartment. A deranged Trelkovsky dresses up again as a woman and throws himself out of the apartment window in the manner of Simone Choule, before what he believes to be a clapping, cheering audience composed of his neighbors. The suicide attempt wakes up his neighbors, who call the police and attempt to restrain him. He crawls away from them back to his apartment, and jumps out the window a second time moments after the police arrive. In the final scene, Trelkovsky is bandaged up in the same fashion as Simone Choule, in the same hospital bed. From his perspective, his and Stella's visit to Simone is shown. Trelkovsky then lets out a monstrous scream as Simone did in the earlier scene.

In his review of the film for The Regrettable Moment of Sincerity, Adam Lippe writes: "Many would attest that The Pianist is Polanski's most personal work, given the obvious Holocaust subject matter, but look beneath the surface, and when the window curtains are drawn aside, Polanski's The Tenant shines brightest as the work closest to his being." Like the other two films in Polanski's Apartment Trilogy, The Tenant blurs the line between psychological thriller and horror. It garnered critical comparisons to both its contemporaries Don't Look Now (1973) by Nicolas Roeg and Stanley Kubrick's The Shining (1980). Given its production design, photography, and the bizarre scenario of a group of neighbors that appear to be preying on a new tenant's life and conspiring against him for that purpose, it has also been compared to the black comedy film Delicatessen (1991). The narrative seems to suggest a house as the malevolent source to the sinister deeds of its inhabitants, and is set in a post apocalyptic future where all animals have died and the people of a remote decaying house resort to eating each of the house's successive new janitors. While the main character is clearly paranoid to some extent, the film does not entirely reveal whether everything takes place in his head or if the strange events happening around him exist at least partially, contrary to the previous entries in Polanski's "Apartment Trilogy".

Although typically labelled as the third part of Polanski's so called "Apartment Trilogy", this came about more by luck than by design. The film adaptation was originally to have been made by British director Jack Clayton, who was attached to the project around seven years before Polanski made it. According to Clayton's biographer Neil Sinyard, Clayton originally tried to make the film ca. 1969 for Universal Studios, from a script by Edward Albee, but this version never made it into production after the relationship between Albee and the studio soured. Paramount bought the rights on Clayton's advice in 1971. Clayton returned to the project in the mid 1970s, and a rough draft script by Christopher Hampton was written while Clayton was preparing The Great Gatsby. By the time Clayton had delivered Gatsby to Paramount in March 1974, he had learned from Robert Evans that Polanski was interested in the project and wanted to play the lead role. While Clayton was occupied preparing foreign language versions of Gatsby for the European market, Paramount studio head Barry Diller began negotiations with Polanski. Although Clayton later insisted that he was never specifically asked if he was still interested, and never said "no" to it, Diller wrongly assumed that Clayton had lost interest and transferred the project to Polanski, without asking Clayton. When he found out, Clayton called Diller in September 1974, expressing his dismay that Diller had given another director a film which (Clayton insisted) had been specifically purchased by the studio for him, and for doing so without consultation.

The film was shot on location in Paris, France.

The film was entered into the 1976 Cannes Film Festival and had a total of 534,637 admissions in France.

The Tenant was poorly received on its release, with Roger Ebert declaring it "not merely bad – it's an embarrassment". Gene Siskel likewise called it a "psychological thriller without the thrills" and criticized the characters for lacking motivation. Since then the film has become a cult favorite. The film holds an 84% rating on Rotten Tomatoes with 37 reviews and an average score of 7.8/10.