Efficient but soulless.
Elevator to the Gallows (1957)
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Reviews Counted:14
Fresh:13
Rotten:1
Average Rating:8.1/10
Theatrical Release:Jun 24, 2005 Limited
Synopsis: This psychological thriller is imbued with a wonderful Parisian atmosphere and a moody, improvisational score by legendary jazz trumpeter Miles Davis. A beautiful woman, Florence, and her lover,... This psychological thriller is imbued with a wonderful Parisian atmosphere and a moody, improvisational score by legendary jazz trumpeter Miles Davis. A beautiful woman, Florence, and her lover, Julien, plan to murder her husband (who happens to be Julien's boss as well), so they can be together. After carefully carrying out the crime, Julien gets stuck inside the elevator when the power is turned off. The film takes off in a number of surprising twists and turns, one of which includes a young couple who steal Julien's car. They take a ride outside the city and kill a German couple in a hotel, a crime the police eventually pin on Julien. However, Jeanne Moreau's performance as Florence wandering around nighttime Paris in a sad, desperate search for her missing lover, with Davis' haunting score in the background, heightens the tension and suspense of the film and reveals the story's emotional core. [More]
Starring: Jeanne Moreau, Maurice Ronet, Georges Poujouly
Starring: Jeanne Moreau, Maurice Ronet, Georges Poujouly
Director: Louis Malle
Director: Louis Malle
Screenwriter: Louis Malle, Roger Nimier
Story: Noel Calef
Composer: Miles Davis
Studio: Rialto Pictures
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Reviews for Elevator to the Gallows
A suspense thriller with a tense, jazzy score and a rich undercurrent of fatalistic irony.
Henri Decaë's black-and-white cinematography brings out the melancholy mystery of Paris' boulevards and cafes, and Ms. Moreau, shot with natural lighting and without make-up, is like a mournful goddess of glamour.
The plot crackles with energy and misdirection, while the black-and-white film sharpens angles and amplifies the shadows lurking in every hallway.
The movie's most compelling element of all is Moreau, wandering the nighttime streets trying to find her lover. It's as if she's blown from one cafe to the next on a blended wind of passion, dread and the lonely trumpet wail.
These 1950s French noirs abandon the formality of traditional crime films, the almost ritualistic obedience to formula, and show crazy stuff happening to people who seem to be making up their lives as they go along.
What turns it fabulous, indeed mythical, is the presence of another entity: Paris at night in the '50s, to the tune of Miles Davis's score as realized in the dappled hues of Henri Decae's gorgeous poetic cinematography.
As French crime thrillers go, this is about as good as it gets. It's also an important film historically, and to top it off, the jazz score, by Miles Davis, is famous in its own right.
A consummate entertainment rich with the romantic atmosphere of Paris in the 1950s.
The tasty 1957 noir thriller that introduced the world to French filmmaker Louis Malle, who at the time was a 24-year-old assistant director for Jacques Cousteau.
Don't miss this opportunity to see the movie that launched the legend of Jeanne Moreau.
Moreau’s nocturnal wanderings are made unbearably poignant by an exquisite Miles Davis jazz score that became famous in its own right.
If you've never seen this 1957 film-noir gem, you should be seduced by the cool nocturnal cinematography of Henri Decae and the languid improvisational sounds of Miles Davis.
It's precisely Malle's omnivorous appetite that makes his first feature, adapted from a policier, so delectable, one stuffed with many sumptuous sights and sounds.
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