The Diabolic Tenant

Plot

A man rents an apartment and proceeds to furnish it in the most extraordinary and magical manner imaginable. As he moves in, furniture and household items appear and disappear at will, moving through walls and defying gravity in impossible ways. The tenant uses supernatural powers to arrange his new home, with chairs, tables, and other furnishings materializing out of thin air and repositioning themselves through magical means. The landlord and other witnesses are left completely bewildered by the diabolical tenant's impossible methods of home decoration. The film culminates in a chaotic display of magical furniture manipulation that showcases Méliès' signature special effects wizardry.

Historical Background

1909 was a pivotal year in early cinema, marking the transition from cinema's novelty phase to its establishment as a serious art form. Georges Méliès, once the undisputed king of cinematic fantasy, was facing increasing competition from filmmakers who were moving toward more realistic storytelling. The film industry was rapidly professionalizing, with companies like Pathé and Gaumont dominating the market. Méliès' Star Film Company, while still productive, was beginning to feel the pressure of these changing times. This period saw the rise of feature-length films and the gradual abandonment of the trick film format that Méliès had perfected. 'The Diabolic Tenant' represents Méliès' continued commitment to the magical cinema style that had made him famous, even as the industry was moving in different directions. The film was created before the devastating 1917 fire that would destroy most of Méliès' original negatives and props.

Making Of

The production of 'The Diabolic Tenant' exemplified Georges Méliès' meticulous approach to cinematic magic. The film was created using a combination of in-camera tricks and stage effects that Méliès had perfected over more than a decade of filmmaking. The furniture movements were accomplished through a combination of stop-motion photography, hidden stagehands, and wires, while the appearances and disappearances used substitution splices - Méliès would stop the camera, replace or remove objects, then resume filming. The glass-walled studio in Montreuil provided optimal lighting conditions for these complex effects. Méliès himself performed in the film, as he did in many of his productions, bringing his theatrical background to the screen. The hand-coloring process, when used, involved stencils and meticulous frame-by-frame application of colors by women workers at the Méliès studio. This labor-intensive process was reserved for films Méliès considered particularly important or marketable.

Visual Style

The cinematography in 'The Diabolic Tenant' exemplifies Georges Méliès' theatrical approach to filmmaking, with static camera positions reminiscent of a theater audience's perspective. The film was shot using a single camera setup, allowing Méliès maximum control over his elaborate special effects. The lighting was bright and even, characteristic of Méliès' glass studio which allowed natural illumination to supplement artificial lighting. The visual style emphasized clarity and visibility of the magical effects, with carefully composed shots that showcased the impossible transformations. The cinematography served the effects rather than pursuing naturalistic representation, with the camera remaining fixed to facilitate the complex substitution splices and multiple exposures. When hand-colored, the film featured vibrant, theatrical colors that enhanced the magical atmosphere rather than attempting realism.

Innovations

'The Diabolic Tenant' showcases several of Georges Méliès' signature technical innovations that were groundbreaking for their time. The film employs sophisticated substitution splices to create the appearance and disappearance of furniture, requiring precise timing and execution in an era before editing machines existed. Multiple exposure techniques were likely used to create layered effects of objects moving independently. The film demonstrates Méliès' mastery of stop-motion photography for animating furniture movement. The production utilized elaborate stage machinery hidden from the camera to facilitate some of the physical effects. When hand-colored, the film employed the stencil coloring process that Méliès' studio had refined to an industrial level. The film also showcases Méliès' expertise in creating the illusion of impossible spatial relationships within the confines of his studio sets.

Music

As a silent film from 1909, 'The Diabolic Tenant' had no synchronized soundtrack. During original theatrical presentations, the film would have been accompanied by live music, typically a pianist or small orchestra playing appropriate mood music. The musical accompaniment would have been selected to match the film's magical and comedic elements, likely featuring light, whimsical pieces during the furniture transformations and more dramatic music during moments of surprise. Some venues might have used popular songs of the era or classical pieces that fit the mood. Modern presentations of the film are typically accompanied by newly composed scores or period-appropriate music selected by presenters. The lack of original recorded music means that contemporary viewers experience the film with various musical interpretations depending on the venue and presenter.

Memorable Scenes

• The sequence where furniture appears and disappears through the walls, demonstrating Méliès' mastery of substitution splices and creating the illusion of objects passing through solid barriers
• The chaotic finale where multiple pieces of furniture move independently around the room, creating a whirlwind of magical domestic disorder

What Critics Said

Contemporary critical reception of 'The Diabolic Tenant' is difficult to trace due to the limited film criticism of 1909, but Méliès' works were generally well-received by audiences and appreciated for their technical ingenuity. Trade publications of the era likely noted the film's clever effects and entertaining premise. Modern film historians and critics recognize the film as a solid example of Méliès' later period work, demonstrating his continued mastery of cinematic magic even as his innovative peak had passed. The film is often cited in scholarly works about Méliès as representative of his domestic fantasy films and his ongoing exploration of spatial manipulation through cinematic means. Critics today appreciate the film for its historical significance and its role in documenting the evolution of cinematic special effects.

What Audiences Thought

Audiences in 1909 would have received 'The Diabolic Tenant' with the same wonder and amusement that characterized reactions to Méliès' other fantasy films. The magical manipulation of furniture and household objects would have provided delightful entertainment for viewers still marveling at cinema's possibilities. The film's domestic setting would have made the magical elements particularly relatable and impressive to contemporary audiences. As with many Méliès films, it likely appealed to both children and adults, offering spectacle and humor in equal measure. The film would have been shown in vaudeville theaters, fairgrounds, and specialized cinema venues as part of mixed programs of short films. Modern audiences viewing the film today often express admiration for its clever effects and historical importance, even if the pacing and style reflect early cinema conventions.

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