Alain Leroy is having a course of treatment in a private hospital because of his problem with alcohol. Although he is constantly distressed, he leaves the hospital and tries to meet good ... See full summary »
A French boarding school run by priests seems to be a haven from World War II until a new student arrives. He becomes the roommate of top student in his class. Rivals at first, the roommates form a bond and share a secret.
With her mother away for the weekend, a brash and precocious ten-year-old country-girl sets out to explore Paris during a Métro strike, under her uncle's not-so-watchful eye. Can a little girl cause so much chaos in the heart of the city?
As France is nearing the end of the first Indochina War, an open-minded teenage boy finds himself torn between a rebellious urge to discover love, and the ever-present, almost dominating affection of his beloved mother.
Florence Carala and her lover, Julien Tavernier, want to murder her husband - Julien's boss - by faking his suicide. But after Julien's killed him, and had left, he remembers he's forgotten the rope outside the window which could implicate him, and he returns to the building to remove itWritten by
Stephan Eichenberg <email@example.com>
The tiny camera is Minox. It was originally developed as a luxury item, but it gained notoriety from its use as a spy camera. See more »
After being released from the lift, Julien is running to his car. If not been stolen, it would have been out of petrol after the engine was running the whole night. Furthermore it would have been quite wet inside after the heavy thunderstorm with the roof open. See more »
Commissaire de police:
Anything's good for an alibi. Wives, girlfriends, bartenders, childhood friends, deceived husbands - but not an elevator. That's ridiculous. It's totally harebrained.
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Ascenseur pour l'échafaud (AKA: Elevator to the Gallows/Lift to the Scaffold) is directed by Louis Malle and co-written by Malle, Roger Nimier and Noël Calef (novel). It stars Jeanne Moreau, Maurice Ronet, Georges Poujouly, Yori Bertin and Jean Wall. Music is by Miles Davis and cinematography by Henri Decaë.
A little ole devil this one, a sly slow pacer that itches away at your skin. Rightly seen as a bridging movie between the classic film noir cycle and the nouvelle vague, Malle's movie is in truth straightforward on narrative terms. Julien Tavernier (Ronet) is going to kill husband of his lover, Florence Carala (Moreau), who also happens to be his boss, but upon executing the perfect murder, he, through his own absent mindedness, winds up stuck in a lift close to the crime scene. Outside Florence is frantically awaiting his arrival so as to begin their life together in earnest, but when a couple of young lovers steal Julien's car, Florence gets the wrong end of the stick and a sequence of events lead to Julien and Florence hitching that ride to the gallows.
Simplicity of narrative be damned, Malle's movie is a classic case of that mattering not one jot. There is style to burn here, with bleak atmospherics dripping from every frame, and Miles Davis' sultry jazz music hovers over proceedings like a sleazy grim reaper. The ironic twists in the writing come straight off the bus to noirville, putting stings in the tale, the smart reverse of the norm finding Moreau (sensual) wandering the streets looking for her male lover, while elsewhere he's in isolation and a doppleganger murder scenario is cunningly being played out. Decaë's photography has a moody desperation about it that so fits the story, the use of natural light making fellow French film makers sit up and take notice. While the dialogue, and the caustic aside to arms dealings, ensures we know that Malle can be a sly old fox. He really should have done more noir like pictures.
A film that convinces us that Julien and Florence are deeply in love and passionate about each other, and yet they never are once together in the whole movie! It's just one of the many wonderful things about Louis Malle's excellent picture.
Remember folks, the camera never lies... 9/10
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