Fictional representations of the female concierge frequently underscore her negative attributes, above all her meddlesome discourse. The female concierge character in Georges Simenon's 1933 novel, Les fiançailles de M. Hire, however, provides an exception to the rule as local law authorities give credence to her word and base their investigation on her testimony. However, in two filmic adaptations of the novel—Duvivier's Panique (1946) and Patrice Leconte's Monsieur Hire (1989)—the female concierge character is practically absent. This article demonstrates how, from page to screen, the concierge's role is dissected, disembodied, and displaced in Duvivier's and Leconte's films, and finally reflects upon the significance of her silencing.