使用者討論:Eigenschaften/沙盒2

怪房客 Le Locataire
基本資料
導演	羅曼·波蘭斯基
監製	赫爾克里斯·貝爾維爾
編劇	羅蘭·托普（小說） 傑拉德·布拉克 羅曼·波蘭斯基
主演	羅曼·波蘭斯基
配樂	菲利普·薩迪
攝影	斯文·尼克維斯特
剪輯	弗朗索瓦茲·博諾
製片商	瑪麗安製片公司
片長	125分鐘
產地	法國
語言	英語 法語
上映及發行
上映日期	1976年5月26日（法國） 1976年6月11日（美國） 1976年10月8日（芬蘭）
發行商	派拉蒙影業
票房	510萬美元

《怪房客》（法語：Le Locataire）是一部1976年法國心理學恐懼電影，由羅曼·波蘭斯基自導自演，其他主要演員還有伊莎貝爾·阿佳妮, 梅爾文·道格拉斯和謝利·溫特斯。該片根據1964年羅蘭·托普的小說《怪房客 (小說)》所改編。這也是波蘭斯基的《公寓三部曲》中，繼《冷血驚魂》和《羅絲瑪麗的嬰兒》之後的一部電影。 該片在法國的票房達到了534,637觀影人次。

劇情簡介

性格內向的塔爾科夫斯基（羅曼·波蘭斯基飾）在巴黎租了一套公寓，他的前任房客，西蒙娜·肖因試圖跳樓自殺而住院。他去醫院探望肖，但發現她全身裹着繃帶，無法說話。在她的床邊，他遇到了同樣來探望的斯特拉（伊莎貝爾·阿佳妮飾）。斯特拉情緒激動，並開始和肖說話，肖看着她的探望者們發出了一陣哭嚎。護士長堅持要求他們離開，因為她之前已經提醒過不可以和肖說話。塔爾科夫斯基試圖安慰斯特拉，但他不敢說他不認識肖，因此假裝自己是她的一個朋友。他們一起出去喝了一杯，看一場電影(1973年的《龍爭虎鬥》)，在那裡他們互相愛撫。出了劇院，他們分道揚鑣。後來，塔爾科夫斯基打電話到醫院詢問肖的情況，得知她已經去世。

當塔爾科夫斯基在公寓中住下來後，因為他的喬遷聚會製造了太大的噪音，並且他沒有參加反對另一個鄰居的請願活動，他不斷受到鄰居和房東Zy先生（梅爾文·道格拉斯）的指責和埋怨。他試圖適應這個環境，但受到的干擾越來越大。他經常看到他的鄰居一動不動地站在衛生間裡(他從自己的窗戶可以看到)。並且他發現自己房間的牆上有一個洞，裡面有一顆人類的牙齒。他和他的朋友們討論這些問題，但他們並不覺得奇怪，反而輕視他的懦弱和不反抗。他拜訪了他的一個同事的公寓，他的同事用刺耳的音量播放着軍樂隊的唱片。一位鄰居禮貌地要求他把音樂關小一點，因為他的妻子生病了，正想睡覺。塔爾科夫斯基把唱片音量放低了，但他的同事告訴鄰居，他將按自己的意願播放音樂，而且他不關心他生病的妻子。

塔爾科夫斯基接待了了喬治·巴達爾的拜訪，喬治暗戀着肖，並相信她還活得很好。塔爾科夫斯基告訴了他事實，安慰了他，並與他在外面度過了一個晚上。他收到了一張喬治在還未得知肖去世時寄給她的明信片。由於他常常去肖也常去的那家附近的咖啡館，塔被認出來是公寓的新房客。店主總是強迫他按照肖的習慣點餐，無視他的意願，給他他沒有點的東西。他們總是沒有他最喜歡的高盧香煙,所以他養成了抽肖常買的萬寶路 的習慣。沒人知道肖為什麼要自殺。

當塔爾科夫斯基的公寓被搶劫時，他變得非常激動和憤怒，而他的鄰居和門房（雪萊·溫特斯飾）則斥責他製造了太大的噪音，他的房東警告他不要向警方報案。一天早上，他因為發燒和做惡夢而醒來，發現自己的臉上化了妝。他買了一頂假髮和一雙女鞋，然後繼續打扮（用他在櫥里找到的西蒙娜的裙子），在深夜，靜靜地坐在他的房間裡。他懷疑房東和鄰居們在不知不覺中試圖把他變成最後的房客西蒙妮，這樣他也會自殺。他一天天的變得變得充滿敵意和偏執（他責罵他的朋友，在公園拍打一個孩子），他的精神狀態日益惡化。他看到他的鄰居用把人頭當足球踢，發現廁所寫滿了象形文字，在庭院看到自己站窗口用雙筒望遠鏡看着浴室。塔爾科夫斯基跑到斯特拉那裡尋求安慰，並在那裡睡了一夜。但在她離開家去工作的第二天早晨，他認為她也處在鄰居家的陰謀之中，於是在破壞了她的公寓後，他離開了這裡。

在晚上，他被一對駕車的老年夫婦撞倒，他並沒有受到太嚴重傷害。但是他認為這對年老夫婦是他的房東夫婦，並且向醫生指出他們試圖謀殺他。後來，這對夫婦把他送回他的公寓。瘋狂的塔爾科夫斯基再次扮成女人，然後像西蒙娜·肖那樣跳出公寓窗戶，他相信鄰居們將為之鼓掌歡呼。 他的自殺行為喚醒了他的鄰居，他們打電話給警察並試圖阻止他。 但是他從他們身邊爬回他的公寓，並在警察抵達前再一次跳出窗戶。

在最後的場景中，塔爾科夫斯基躺在之前西蒙娜·肖躺的那張病床上，全身綁滿了繃帶。 在他的視角，我們看到了他和斯特拉對西蒙妮的訪問。最後，塔爾科夫斯基發出了與西蒙妮之前一樣令人不安的哭嚎。

主要演員

• 羅曼·波蘭斯基 – 塔爾科夫斯基
• 伊莎貝爾·阿佳妮 – 斯特拉
• 梅爾文·道格拉斯 – Zy先生
• 喬·范·弗利特 – 迪奧茲夫人
• 伯納德·弗雷森 – 斯科普
• 魯弗斯 – 喬治·巴達爾
• 謝利·溫特斯 – 看門人
• 麗拉·柯卓娃 – 加得利夫人
• 帕特里斯·亞歷山大（Patrice Alexsandre） – 羅伯特
• 羅曼·布蒂爾（Romain Bouteille） – 西蒙
• 喬希安·芭拉絲寇 – 維維安
• 克勞德·多芬 – 車禍中的丈夫
• 克勞德·佩普魯 – 鄰居
• 雅克·莫諾 – 咖啡店店主
• 讓-彼埃爾·巴格（Jean-Pierre Bagot） – 警察
• 米歇爾·布朗 – 斯科普的鄰居
• 伊娃·愛洛尼斯科 – 貝蒂娜，加得利夫人的女兒
• 阿爾伯特·德爾比 – 鄰居

製作

• 儘管這部電影通常被視為波蘭斯基「公寓三部曲」中的第三部，但這更多的靠的是運氣而不是設計。這部改編自電影的電影原本是由英國導演傑克·克萊頓製作的，克萊頓在波蘭斯基開拍大約7年前就已經加入了這個項目。根據克萊頓的傳記作者尼爾·辛亞德（Neil Sinyard）的說法，克萊頓原本打算在1969年左右，根據愛德華·阿爾比的劇本，為環球影業製作這部電影，但在阿爾比和電影公司的關係惡化後，這部電影的製作就沒有再繼續。在克萊頓的建議下，1971年派拉蒙公司買下了版權。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 (1974 film)|The Great Gatsby. By the time Clayton had delivered Gatsby to Paramount in March 1974, he had learned from Robert Evans (producer)|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.
• Production design by Pierre Guffroy and costume design by Jacques Schmidt with cinematography by Sven Nykvist and sound mixing by Jean-Pierre Ruh.
• Polanski receives no acting credit, despite the fact he plays the lead character.
• While the main character is clearly paranoid to some extent (as exemplified in the scene when he believes a neighbour is strangling him, when he is in fact shown strangling himself), 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."
• The film was shot part in English, part in French, going by whatever the actors present felt more comfortable with. Afterwards, different language versions were produced in post-production, with part of the cast dubbing themselves in both the fully English and the fully French version, while the rest of the French characters were notably dubbed by actors with audibly U.S. American accents. Polanski dubbed himself in three language versions: English, French, and Italian. Isabelle Adjani did not dub herself in the English version.

主題

概述

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."

Other than to the works of Franz Kafka (see below), the film's even more mysterious, ambiguous mood and atmosphere as to whether it belongs to either the horror or the psychological thriller genre has garnered it critical comparisons to both its contemporaries Don't Look Now (1973) by Nicolas Roeg and Stanley Kubrick's The Shining (1980), even more so than the previous two entries to Polanski's Apartment Trilogy. Given its production design, photography, and in how The Tenant crafts a creepily bizarre scenario of a group of neighbors appearing to be preying on a new tenant's life and conspire against him for that purpose, it has also been compared to the black comedy film Delicatessen (1991) by Jean-Pierre Jeunet and Marc Caro, which also stars the French actor Rufus in a supporting role, just like The Tenant and The Shining 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.

卡夫卡的影響

Many critics have noted The Tenant's strong Kafkaesque theme, typified by an atmosphere that is absurdly over-burdened with anxiety, confusion, guilt, bleak humour, alienation, sexual frustration and paranoia. However, the film cannot be viewed as purely driven by a Kafkaesque motif because of the numerous references to Trelkovsky's delirium and heavy drinking. This allows for more than one interpretation.

Most of the action occurs within a claustrophobic environment where dark, ominous things occur without reason or explanation to a seemingly shy protagonist, whose perceived failings as a tenant are ruthlessly pursued by what Trelkovsky himself views as an increasingly cabalistic conspiracy. Minor infringements are treated as serious breaches of his tenancy agreement, and this apparent persecution escalates after he refuses to join his neighbours in a prejudiced campaign to oust a mother with a disabled child.

"The scheming plots over matters of extraordinary pettiness and inexplicable conspiracies that go on among the neighbours to gang up on others make The Tenant probably the first Kafkaesque horror film."

"Much effect is derived from the absurdity of the scenario where all Trelkovsky wants to do is not bother anyone, yet everything Trelkovsky does is seen as an imposition."

Critics have speculated that the film's Kafkaesque atmosphere must be in part a reflection of Polanski's own Jewish experiences within a predominantly anti-Semitic environment. Trelkovsky is viewed with suspicion by almost every other character simply because he is a foreign national. For example, when he tries to report a robbery to the French police he is treated sceptically and told that as a foreigner he should not make trouble. It can be no coincidence that Polanski chose to take this title role. Both the director and the protagonist are outsiders who strive ineffectually for acceptance in what they see as a corrupt and mysterious world.

Vincent Canby wrote in the New York Times: "Trelkovsky exists. He inhabits his own body, but it's as if he had no lease on it, as if at any moment he could be dispossessed for having listened to the radio in his head after 10 P.M. People are always knocking on his walls."

"The film's title [of The Tenant] could be interpreted as follows: An alien is given the chance to rent an apartment for himself in a well-ordered world, however he may be evicted at any given time once the natives find him to be in violation of this world's well-ordered rules, or failing to properly internalize them. In the end, it is of little importance who is normal and who is insane. The individual's paranoia equals our well-ordered world's desire to persecute. Nobody can help Trelkovsky - he can't even help himself. In a disenchanted, jaded world with its fixed social order, the individual and one's autonomy have but one fate: Either submission and internalization of people's rules - or insanity. Which is no real choice. Here, the individual is always on the brink of annihilation, about to lose itself."

——Ulrich Behrens (Filmzentrale)，Der Mieter (German review)

惡性循環，自我喪失，社會同化

The Tenant has been referred to as a precursor to Kubrick's The Shining (1980), as another film where the lines between reality, madness, and the supernatural become increasingly blurry (the question usually asked with The Shining is "Ghosts or cabin fever?") as the protagonist finds himself doomed to cyclically repeat another person's nightmarish fall. Just like in The Shining, the audience is slowly brought to accept the supernatural by what at first seems a slow descent into madness, or vice versa: "The audience's predilection to accept a proto-supernatural explanation [...] becomes so pronounced that at Trelkovsky's break with sanity the viewer is encouraged to take a straightforward hallucination for a supernatural act."

In his book Polanski and Perception, Davide Caputo has called the fact that in the end, Trelkovsky defenestrates himself not once, but twice "a cruel reminder of the film's 'infinite loop'" of Trelkovsky becoming Mme. Choule meeting Trelkovsky shortly before dying in the hospital, a loop not unlike The Shining's explanation that Jack Torrance "has always been the Overlook's caretaker". Timothy Brayton of Antagony & Ecstasy likens this eternally looping cycle of The Tenant to the film's recurring Egyptian motifs:

"There is a recurrent motif of Egyptian hieroglyphics that remains unexplained in the film. Ancient Egyptian religious belief, it is important to note, was based on the notion that all things are the same all throughout history: not the same as Hinduism's conception that everything has happened before and will happen again, but more the belief that everything is always happening. The best I can come up with is to suppose that Trelkovsky, whether in his mind or in reality, is always the same as Simone. He does not become her, so much as we finally reach a point where the distinction between the two of them is no longer important. Either way, the result is the same: there is no Trelkovsky. To someone whose life had been as traumatic as Polanski's, that idea might well have been an attractive one."

——Timothy Brayton (Antagony & Ecstasy)，Apartment house fools

Steve Biodrowski of Cinefantastique writes: "THE TENANT is short on typical horror movie action: there are no monsters, and there is little in the way of traditional suspense. That's because the film is not operating on the kind of fear that most horror films exploit: fear of death. Instead, THE TENANT's focus is on an equally disturbing fear: loss of identity." In his review of the film for The Regrettable Moment of Sincerity, Adam Lippe writes of Trelkovsky's surroundings sinisterly shaping him into an echo of the past: "Coming from a Nazi-occupied childhood, Polanski no doubt uses his character's identity crisis to illustrate society's ability to shape and mold the uniqueness of its members, whether they like it or not." Similarly, Dan Jardine of Apollo Guide writes: "Polanski seems to be studying how people, in our isolating world, increasingly mould themselves to their environment, sometimes to the point where their individual identity is absorbed into the world around them. The longer he is in the building, the more Trelkovsky begins to lose sight of where his internal sense of his 'self' ends, and his social identity begins."

"What happens to The Tenant? Is poor Trelkovsky haunted by ghosts or does he turn insane? Does a (mysteriously) hostile environment drive him to commit suicide, or do the necessities of a cold reality break a tender soul? Could Trelkovsky be identical to Simone Choul from the beginning? Are we even witnessing Simone Choul's very own death hallucination, with Trelkovsky as nothing but a figment of her dying mind?"

——Wollo (Die besten Horrorfilme.de)，Der Mieter (German review)

Because of how little we get to know of Trelkovsky's life prior to his applying for the apartment and moving in, only to become an echo of former tenant Mme. Choule because of his frail, almost inexistent personality's weak resistance to either her ghost or his bullying neighbors as if he has always been Mme. Choule and always will be, the film has also been referred to as an early precursor to Fight Club (1999), a film where the final twist reveals it to be about a case of split personality.

孤獨和幽閉恐懼症

A recurring theme with Polanski's films, but especially pronounced in The Tenant, is that of the protagonist as a silent, isolated observer in hiding. As Brogan Morris writes in Flickering Myth: "One of Roman Polanski's recurring motifs has always been the horror of the apartment space. It was as recently as his last film, Carnage, and in a crucial sequence of his masterful The Pianist: it's from an apartment window which Szpilman can do nothing but watch atrocities unfold outside. The fascination is there most obviously, though, in Polanski's 'Apartment Trilogy' [...]. And The Tenant, a blackly comedic meta-horror, is perhaps Polanski's ultimate use of the apartment as a claustrophobic, paranoid zone of terror."

"The Tenant also makes an interesting film to read in term of Roman Polanski's own life – he, like the character he plays, is a Pole who went to live in Paris very shortly after the film was made. His other horror films – Repulsion, Rosemary's Baby – like The Tenant, see the apartment as a home of paranoia and madness. You could extend the analogy further and compare Repulsion, Rosemary's Baby and The Tenant to Polanski's The Pianist, where Adrien Brody's protagonist, a Jew living in Poland under Nazi occupation, is reduced to hiding a pitiful, starving existence hiding in cubbyholes and the bombed-out ruins of buildings where he cannot be sure whether the people he encounters are friend or foe or will betray him. Polanski himself grew up in the Krakow ghettos as a Jewish child under the Nazi occupation and survived by hiding in the countryside and with other families after his parents were taken to the concentration camps, so perhaps one can see the very personal nature of the recurrent themes of isolation, paranoia and the feeling that the apartment is an alien world in his work."

——Richard Scheib (Moira: Science Fiction, Horror and Fantasy Film Review)，THE TENANT (Le Locataire)

性異常與壓迫

Related to the aforementioned kafkaesque guilt and the theme of identity loss, another theme that appears throughout the film is that of sexual deviance and Trelkovsky's increasing trespassing of traditional gender roles, as he more and more turns into an echo of former tenant Mme. Choule. German reviewer Andreas Staben writes: "And again, [Polanski] tells of sexual repression, and in Polanski's astounding, unpretentious performance, Trelkovsky's escape into the identity of Simone Choule appears as a consequential closure of all three films [of the Apartment Trilogy]. Other than was maybe the case still with Repulsion, there can be no talk whatsoever of a psycho-pathological case study anymore: Here, the individual is entirely wiped out and all that remains is the horror of facing a pure void."

"In The Tenant, Roman Polanski explores again the psychic terrain of guilt, dread, paranoia, fears of sexual inadequacy and hysteria he made so familiar in Repulsion, Rosemary's Baby, Macbeth, and Chinatown. [...] [T]he confusion of sexual roles is more pronounced here than anywhere else in [Polanski's] work. The slightly decadent and fetishistic, but innocent, bedtime games of Cul-de-sac have developed into the signs of a basic confusion concerning sexual identity. T.'s acquisition of feminine costume and habits speaks to a repressed and disturbing need. He is not attracted to women, in fact cannot perform sexually when Stella (Isabelle Adjani) takes him home. In this respect he is again the counterpart of Simone Schoul who, he is told, was never interested at all in men. As he is drawn more completely into the idea of becoming this woman, T. pauses to speculate about what defines him. If a man loses an arm, he wonders, does the arm or the remaining body define his selfhood? How much can a man lose, change, or give away and still remain 'himself'? Or, to paraphrase the advertisers, does the cigarette make the man?"

——Norman Hale (Movietone News, no. 52, October 1976, p. 38-39)，Review: Tenant

反應

Although The Tenant was poorly received on its release, Roger Ebert declaring it "not merely bad -- it's an embarrassment," it has since become a cult favorite. Bruce Campbell named it one of his favorite horror movies in an interview with Craig Ferguson. The film holds a 90% Certified fresh rating on Rotten Tomatoes with 29 reviews.

外部連結

• 互聯網電影數據庫（IMDb）上《Eigenschaften/沙盒2》的資料（英文）
• AllMovie上《The Tenant (Le Locataire)》的資料（英文）
• 爛番茄上《The Tenant》的資料（英文）