After a long time of brewing, I finally finished watching this strange tenant. Polanski is indeed worthy of the term “brilliant”. From his performance, lens language, suspense manufacturing, scene scheduling to the connotation of the film, this film really did not let People disappointed. This kind of psychological thriller film should be the favorite of many directors such as Hitchcock, David Cronenberg, David Lynch, David Fincher, Paul Van Hoeven, etc. However, the Greek-style thriller is too pure, Conan Bo Grid and Lynch are too pursuing psychological distortions, while Vinci and Van Hoeven are good at making typified films. From this perspective, Polanski seems to have a stronger sense of reality. The horror stemming from life is far greater than the horror of the movie itself. The truth of reality is the source of psychological breakdown. There are some people who grow up in damp and shade for a long time, and their psychology is as fragile and sensitive as a water bottle. They cannot see or see the sun. Speaking of the movie, Tarkovsky, played by Roman Polanski, was looking for a place to live in Paris. After he was optimistic about an apartment, he was told that the former tenant committed suicide by jumping off the building for unknown reasons. The concierge, landlord, and neighbors also showed some signs of suicide. Xenophobia, arrogance, and unfriendliness, and when compared with Tarkovsky, you can immediately see this contrast. One is strong and orthodox, and the other is cowardly and submissive (simple and kind?). Such a pair of combinations can instantly elicit this contrast. There are countless kinds of plots. Under this situation, the weaker party is bound to change. Either merge and become part of the strong party, or the fish will fight against oppression and suicide. According to the general drama conflict arrangement, the fish will be the inevitable development direction of the plot. Now that the director has given the results at the beginning, the process must be enriched as much as possible. It is clear that Polanski is very good at doing this. After giving the most basic binary conflict, the film begins to introduce related characters and scenes. First of all, Tarkovsky met Adjani as Stella when he went to visit former tenant Simon Shaw. The young and attractive Stella rubbed against Munner’s kind-hearted Tarkovsky in the grief of losing a friend. With such a spark, the protagonist's love line became clear. Secondly, it is the friendship line of the protagonist. He had a party with a group of friends in the company until midnight, and eventually broke up due to disturbing neighbors. Obviously, his relationship with this group of friends is loose, and even the understanding of strangers is quite limited. . Outside the line of love and friendship, the restaurant opposite the apartment is also a scene that has appeared many times. The boss and the waiter do not welcome him. This relationship does not have any effect on the protagonist's psychological security. Solitude seems to be the whole life of Tarkovsky, dark and bottomless. In addition, Simon Zhou’s suitor, Ruoyouruowu’s two tenants, and Simon Shaw’s rich second-generation friend seem to be one of the few positive characters in the entire movie. Perhaps people always take care and understanding of strangers. Feeling cordial, but in fact it doesn't help Tarkovsky slip into the abyss step by step. Then look at this group of "ferocious neighbors". Tradition, stubbornness, xenophobia, indifference, and selfishness seem to be the labels specially given by the movie. Noisy is strictly prohibited, parties are prevented, and women cannot be brought back to the room, Tarkovs The base is bullied everywhere, and the former tenant who committed suicide for unknown reasons, the mysterious teeth in the hole, and the absurd toilet layout further promote the psychological alienation of the protagonist. The neighbor’s request is indeed too harsh, but it is not only the neighbor’s indifference and selfishness that leads to this result, but also the protagonist’s cowardice and resignation. From the very beginning when attending the funeral of Simon Shaw in the church, the godfather’s words cursing the devil and darkness gave the protagonist an inexplicable sense of substitution, sweating profusely to escape, and Tarkovsky as an outsider was difficult to find from the beginning. self. Later, the home was stolen and prepared to report to the police, but the landlord stopped him on the grounds of maintaining the reputation of the apartment. The neighbors’ continuous harassment and threats from the beginning to the end, and the shadow of the suicide of the former tenant, make the sensitive protagonist constantly think about who I am, where I come from, and what should I do, and conform to the neighbor’s acceptance of the devil? Resist suicide? The consciousness of resistance from the subconscious gave him the will to resist to death. This absolute change of consciousness even began to change Tarkovsky’s subjective consciousness. Even the subject of resistance was not "I", but the previous tenants. The name. The initial change of consciousness was not clear. Tarkovsky, who was in a trance, walked along the winding staircase and finally reached the weird toilet. He saw the Egyptian hieroglyphs of the former tenant Simon Shaw on the toilet wall, and turned his head. When I glanced at the room, I saw myself, stumbled back to the room, and then looked at the window of the toilet. There was a dead Simon Shaw in it. I woke up the next day and found the heavy makeup on his face and I walked through it last night. At this time, the protagonist appeared in confusion and ambiguity in his self-consciousness: "I am the former tenant, they are going to kill me." At this point, Tarkovsky's subjective consciousness is also completely confused, and he takes the initiative. Go buy wigs, high heels, and put on the long skirts of the former tenant. Tarkovsky, whose consciousness had been completely confused, was still suspicious even at his lover Stella's house, and when he encountered kind police officers, doctors, and old couples on the road, he was completely unable to reverse his crazy consciousness. The classic scene of jumping from a building is quite amazing. From Tarkovsky to the window, and then to the neighbors who are watching the theater outside, the coordination of the camera and the music is simply superb, but the climax is not here. Over, Whatever doesn' t kill you simply makes you stranger, Tarkovsky, who did not die in the first jump, becomes even more bizarre in consciousness, the tenants turn into snake spirits and demons aggressive, the protagonist’s persecution fanaticism even brings the body Functional evolution, staggered up the room and started to jump twice. Such a plot setting of repeated suicides fully demonstrates fatalistic pessimism, and the psychological distortion of reality has reached an irreparable point. Such a tragic plot conception should be related to the many oppression and exclusion suffered by Polanski in his early years. Of course, the director was also oppressed by the US for a long time, so it seems that the film can be regarded as Polanski's memories of the past. The autobiography of the history of oppression and humiliation, but in fact, the oppression and humiliation of neighbors in the film is not particularly extreme. Tarkovsky’s loss of self-consciousness has led to tragedies to a certain extent. Some people, Growing under damp and shade for a long time, their psychology is as fragile and sensitive as a water bottle. They can't see or see the sun. Why does such a role appear? Is this an inevitable product of social development? I believe the director is also seeking answers. I wondered how anyone could ever imagine unquiet slumbers for the sleepers in that quiet earth. ——Wuthering heights
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