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#1
05-18-2005, 09:55 AM
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NEW 35mm restoration of Louis Malle's ELEVATOR TO THE GALLOWS opens June 24 in NYC!!!
 ELEVATOR TO THE GALLOWS Another early film from the captivating actress Jeanne Moreau elevates this French film noir to MUST-SEE classic status for cinephiles everywhere! 3 stars [Ascenseur pour l'échafaud/(1958)France] - (1 hr. 28 min.) - IMDb rating: 8.0 (out of 10) [USA RE-release distrib: Rialto / 1961 Orig. USA release retitled 'Frantic'] Directed by Louis Malle Score by Miles Davis Lead characters/Cast 'Julien' Tavernier - Maurice Ronet 'Florence' Carala - Jeanne Moreau Veronique -Yori Bertin Louis (Veronique's boyfriend) - Georges Poujouly Inspector Cherier - Lino Ventura  Supoorting characters/Cast Simon Carala (Florence's husband) - Jean Wall Horst Bencker (German tourist) - Iván Petrovich Madame Bencker (his wife) - Elga Andersen Secretary - Sylviane Aisenstein Genevieve - Micheline Bona Anna - Jacqueline Staup Maurice - Gérard Darrieu Subervie - Félix Marten Inspector Cherier's assistant - Charles Denner Asst. D.A. - Hubert Deschamps Garage owner - Jacques Hilling Review (Screened 35mm restoration print): While afficionadoes of Hollywood film noir classics may find the 'looped' soundtrack a bit surreal and possibly distracting, the overall lack of background noise can't diminish yet another great performance from the now-legendary French actress Jeanne Moreau. Moreau's voiceovers (as "Florence') occur intermittently throughout the film and deepen the level of the crisis by showing how deeply she loves 'Julien'. Amazingly, this was only the young director Louis Malle's second film, but the cast and crew he assembles reveal him to be less of a beginner than a master in the offing. Not to mention the genius decision to get jazz trumpeter Miles Davis to perform on the soundtrack during a two week visit to France (the entire soundtrack was recorded in one long evening). Due to the extremely intricate plotline I can't give out any details without spoiling the fun. Check this one out noir fans!   Original French posterSynopsis: ELEVATOR TO THE GALLOWS, Louis Malle’s 1957 masterpiece of suspense and film noir starring Jeanne Moreau, in the role that catapulted her to international stardom. Long unseen, ELEVATOR is being reissued by Rialto Pictures in a new 35mm restoration supervised by the Malle family, with a new translation by Lenny Borger. Scheming lovers Julien (Maurice Ronet) and Florence (Jeanne Moreau) engineer the “perfect murder” of her husband. But when Julien attempts to tie up one more loose end Select the black box below with your cursor to view the spoiler text
A stunning debut that won the then 24-year-old director Louis Malle the prestigious Prix Delluc, France’s highest film award, ELEVATOR TO THE GALLOWS ushered in the French New Wave and made an international super-star of cool beauty Moreau, here giving perhaps the most iconic performance of her career. As seminal as the film itself is its legendary Miles Davis music (largely improvised by Miles and his combo) —still the most famous of all jazz film scores. 
Last edited by REEL_REVIEWER; 12-10-2006 at 11:52 AM. |
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#2
06-16-2005, 09:19 PM
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SOUNDTRACK players:
 All instrumentals played by: Miles Davis - trumpet Barney Wilen - tenor saxophone Rene Urtreger - piano Pierre Michelot - contrabass Kenny Clarke - drums  © Len Dobbin
Last edited by REEL_REVIEWER; 12-10-2006 at 09:50 AM. |
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#3
07-13-2005, 04:03 PM
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New 35mm print screening in select cities ...
Last edited by REEL_REVIEWER; 12-10-2006 at 11:47 AM. |
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#4
08-12-2005, 09:45 PM
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77-yr. old legendary French actress Jeanne Moreau (125 titles so far)
Une vieille maitresse (2007)
Rois maudits, Les (2005 TV mini-series) - Mahaut d'Artois Temps qui reste, Le (2005) - Laura Akoibon (2005) - Madame Paule 13 French Street (2005) - (unconfirmed) Contessa di Castiglione, La (2005 TV movie) Go West (2005) Parents terribles, Les (2003/I TV movie) - Leo The Will to Resist (2002) - Johanna (1989) Cet amour-là (2001) - Marguerite Duras Zaïde, un petit air de vengeance (2001 TV movie) - Anna Shermann Lisa (2001) - Lisa (old) Genesys (2001 video game) - Récitante/Narrator Misérables, Les (2000 TV mini-series) - Mère Innocente The Prince's Manuscript (2000) - Alessandra Wolf (Licy) Balzac: A Life of Passion (1999 TV movie) - Charlotte-Laure Ever After (1998) - Grande Dame Un amour de sorcière (1997) - Eglantine Amour et confusions (1997) - Libra The Proprietor (1996) - Adrienne Mark I Love You, I Love You Not (1996) - Nana Belle Époque (1995 TV mini-series) - Récitante/Narrator (voice) Beyond the Clouds (1995) - Friend Cent et une nuits de Simon Cinéma, Les (1995) - La première ex-épouse de M. Cinéma Catherine the Great (1995 TV movie) - Elizabeth A Foreign Field (1993) - Angelique Je m'appelle Victor (1993) - Rose Map of the Human Heart (1993) - Sister Banville The Absence (1993) - Writer's Wife À demain (1992) - Tete Nuit de l'océan, La (1992) - Hélène Sauveterre Amant, L' (1992) - Narrator (French and English version)/Récitante (voice) The Summer House (1992 TV movie) - Lili Meteoro vima tou pelargou, To (1991) - The Woman Until the End of the World (1991) - Edith Farber The Old Lady Who Walked in the Sea (1991) - Lady M Anna Karamazova (1991) - Woman Femme fardée, La (1990) - Le Doria Alberto Express (1990) - The baronness Ami Giono: Ennemonde, L' (1990 TV movie) - Ennemonde Girard La Femme Nikita (1990) - Amande Jour après jour (1989) - Janine Weisman Miraculé, Le (1987) - Sabine, dite 'La Major' Tiroir secret, Le (1986 TV mini-series) - Vivi The Last Seance (1986 TV movie) - Madame Exe Sauve-toi, Lola (1986) - Marie-Aude Schneider Paltoquet, Le (1986) - The Brothel-Keeper Vicious Circle (1985 TV movie) Intoxe, L' (1983 TV movie) - Marie-Pierre La Truite (The Trout) (1982) - Lou Querelle (1982) - Lysiane Mille milliards de dollars (1982) - Mme Benoît-Lambert Arbre, L' (1982 TV movie) - Camille Your Ticket Is No Longer Valid (1981) - Lili Marlene Heat of Desire (1981) - Helene The Last Tycoon (1976) - Didi Mr. Klein (1976) - Florence Lumiere (1976) - Sarah French Provincial (1975) - Berthe Saint, martyr et poète (1975 TV short) Hu-Man (1975) - Sylvana Creezy (1974) - Renee Vibert Going Places (1974) - Jeanne Pirolle Je t'aime (1974) - Elisa Boussac The Garden That Tilts (1974) - Maria Joanna Francesa (1973) - Joana Nathalie Granger (1972) - Other Woman Dear Louise (1972) - Louise Vagabond Humor (1972) - Myriam Bingeot Reckonings Against the Grain (1971) - Madeleine The Little Theatre of Jean Renoir (1970 TV movie) - La chanteuse/The Singer (segment "Quand l'amour meurt") Monte Walsh (1970) - Martine Bernard The Deep (1970) - Ruth Warriner Corps de Diane, Le (1969) - Diane Great Catherine (1968) - Catherine Portrait: Orson Welles (1968 TV short) - Narrator (voice) The Immortal Story (1968) - Virginie Ducrot The Bride Wore Black (1968) - Julie Kohler The Sailor from Gibraltar (1967) - Anna The Oldest Profession (1967) - Mimi (segment "Mademoiselle Mimi") Mademoiselle (1966) - Mademoiselle Campanadas a medianoche (1965) - Doll Tearsheet Viva María! (1965) - Maria I Mata-Hari (1964) - Mata-Hari The Yellow Rolls-Royce (1964) - The Marchioness of Frinton The Train (1964) - Christine Diary of a Chambermaid (1964) - Céléstine The Victors (1963) - French Woman The Fire Within (1963) - Eva Banana Peel (1963) - Cathy Bay of the Angels (1963) - Jackie Demaistre The Trial (1962) - Miss Burstner Eva (1962) - Eve Olivier Jules and Jim (1962) - Catherine A Woman Is a Woman (1961) - Woman in Bar (uncredited) Notte, La (1961) - Lidia Dialogue des Carmélites, Le (1960) - Mère Marie de l'Incarnation Moderato cantabile (1960) - Anne Desbarèdes 5 Branded Women (1960) - Ljuba Matisse ou Le talent de bonheur (1960 short) - Récitante/Narrator (voice) Liaisons dangereuses, Les (1959) - Juliette de Merteuil The 400 Blows (1959) - Woman with dog (uncredited) The Lovers (1958) - Jeanne Tournier Back to the Wall (1958) - Gloria Decrey Elevator to the Gallows (aka 'Frantic') (1958) - Florence Carala  A very young Jeanne Moreau (@ right) Échec au porteur (1958) - Jacqueline Tourieu Three Days to Live (1957) - Jeanne Fortin Étrange Monsieur Steve, L' (1957) - Florence Demoniac (1957) - Agnès Vanaux Until the Last One (1957) - Gina The Wages of Sin (1956) - Angèle Ribot Gas-Oil (1955) - Alice Doctors (1955) - Marianne Déjazet M'sieur la Caille (1955) - Fernande Queen Margot (1954) - Marguerite de Valois, "La Reine Margot"/Queen Margot The Bed (1954) - Jeanne Plisson (segment "Billet de logement, Le") Intrigantes, Les (1954) - Mona Rémi Grisbi (1954) - Josy Julietta (1953) - Rosie Facibey Inside a Girls' Dormitory (1953) - Julie Dr. Schweitzer (1952) - Marie Winter Homme de ma vie, L' (1952) - Suzanne Dubreuil Pigalle-Saint-Germain-des-Prés (1950) - Pâquerette Meurtres (1950) - Martine Annequin Last Love (1949) - Michèle Last edited by REEL_REVIEWER; 12-10-2006 at 09:51 AM. |
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#5
09-11-2005, 08:15 PM
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Louis Malle on Elevator to the Gallows
 In the spring of 1957 my friend Alain Cavalier bought a book called Ascenseur pour l’échafaud [literally, “Elevator to the Scaffold” – see page 3] from a station newsstand. He read it and said to me, 'You know, the plot is really interesting. It could be the starting point for a film noir'. The policier [thriller] was a genre that had always been popular in France. I went to see Jean Thuillier, who produced Bresson’s A Man Escaped, and said. "Read this book. Maybe I could adapt it." There was something exciting about it, it was a good thriller. And he said, 'Yes, if we can come up with a cast and sell it to a distributor'. I chose to collaborate with a writer whom I admired, Roger Nimier, a young novelist…when he read Elevator he said, 'This book is stupid'. “Yes, but the plot is good.” He said 'All right, but let’s start from scratch'.From the beginning we literally invented what people remember of the film today – the character of Jeanne Moreau. It hardly existed in the book. When you think of it, she is not really necessary to the plot. She just floats around trying to find her lover in Paris. But we made her part of the plot at the end. Once we started working on the adaptation things went very fast, and we signed Jeanne Moreau… Now people often say, “You discovered Jeanne Moreau.” I didn’t - she was already a star then, a B movie star. Also, she was recognized as the prime stage actress of her generation. She had been at the Comédie Française; she had worked with Gérard Philippe. But in films she had never come true, except in those B movie thrillers with Jean Gabin, where her roles were not terribly interesting. But she was a commercial plus. In fact, the distributor insisted that we cast Jeanne Moreau…suddenly they discovered that she was potentially a big film star. Up until then people used to say that although she was a great actress, and very sexy, she was simply not photogenic. I had this great cameraman, Henri Decaë, whom I knew from the early Melville films. I, as well as those in the New Wave, admired Decaë tremendously. He started me, he started Chabrol, and then Truffaut7, and then a number of others. When we started shooting, the first scenes we did with Jeanne Moreau were in the streets, on the Champs-Élysées. We had the camera in a baby carriage, and she had no light – it was black and white of course; we were using this new fast film, the Tri-X, which serious film makers thought too grainy. We did several long tracking shots of Jeanne Moreau…she was lit only by the windows of the Champs- Élysées. That had never been done. Cameramen would have forced her to wear a lot of make-up and they would put a lot of light on her because, supposedly, her face was not photogenic. That first week there was a rebellion of the technicians at the lab after they had seen the dailies. They went to the producer and said, “You must not let Malle and Decaë destroy Jeanne Moreau.” They were horrified. But when Elevator was released, suddenly something of Jeanne Moreau’s essential qualities came out: she could be almost ugly and then ten seconds later she would turn her face and would be incredibly attractive. But she would be herself. And, of course, it was confirmed by The Lovers, which I did almost right after. So I contributed to making her into a star, but she had already made something like seven or eight films. The book – and the film - is about a man who commits the perfect murder, stupidly gets stuck in the elevator of the building, and two kids steal his car, go to a motel outside Paris and commit a murder – all the evidence is that he committed that second murder when actually he…well, that was the trick, the gimmick of the book. In the screenplay we extended the plot to his love affair. We didn’t want it just to be about the two crimes… we thought it would be much more interesting if he was supposed to meet a woman immediately after he commits the first murder, she looks for him all over the place, but they never meet…we hesitated a lot, I remember, while we were working on the screenplay, wondering if we should have them meet at some point. We decided not to, except that at the very end there’s the scene, one of the best in the film, when she’s finally arrested. The photographer is developing the photos and she sees the two of them in love, in the big enlargements in the water, and so they are reunited. But they are nevertogether. For us, that seemed very romantic. When I did Elevator I consciously chose to start from this book, which was a thriller, aware that I would have to make something that could be sold to people in the industry as a B movie. Of course, I was very ambitious, and the fact that I worked with Roger Nimier instead of with the screenwriters that were recommended to me, the fact that I took somebody who was a very respected writer at the time, indicated that I had great ambitions for the project. But if I had had my way, I would have preferred – and if I had made my first feature three years later I would probably have been able to do so – to have done something more autobiographical. I realize now when I look at Elevator that I managed to inject – because we had the plot but the plot was like a skeleton – a number of themes that were, probably unconsciously, close enough to me that they would reappear in my work. But I also wanted to make a good thriller. The irony is, I was really split between my tremendous admiration for Bresson and the temptation to make a Hitchcock-like film. So there’s something about Elevator that goes from one to the other. In a lot of scenes, especially inside the elevator, I was trying to emulate Bresson…At the same time I was emulating Hitchcock in trying to do, even if slightly ironically, a thriller that works. The suspense, the surprises. And of course, stylistically, apart from the fact that it was my first film and as such full of clumsy things, I was closer to Bresson. So I was split. On top of that I was trying to portray a new generation through the characters of the teenagers (in those days they were called blousons noir because they all wore black leather, those kids from the suburbs) – a description of the new Paris. Traditionally, it was always the René Clair Paris that French films presented, and I took care to show one of the first modern buildings in Paris. I invented a motel – there was only one motel in France and it was not near Paris, so we had to shoot it in Normandy. I showed a Paris, not of the future, but at least a modern city, a world already somewhat dehumanized. I was not aware, making Elevator, that I was doing something personal. I saw it almost like an exercise. When I started Elevator, I felt I was pretty much prepared technically but I had this huge hole in my apprenticeship – dealing with actors. I’d no experience of that: I’d been filming fish for four years! I didn’t feel I should take any risks, so the cast of Elevator was – with the exception of the young girl – entirely professional…I was scared to death of actors, just because I had no experience of dealing with them…From my very first film I realized I was probably, of all the directors of my generation – apart from Alain Resnais – the one who was technically the best prepared, but at the same time I had to learn everything else, which in a way was more important, especially the human element. It took me several films to learn. -- excerpted from 'Malle on Malle', edited by Philip French, 1993 |
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#6
09-21-2005, 07:30 AM
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Reel Reviewer: do you work for RT? I just love it when I see that you have posted in movies that I have seen!
Saw this film last night, and it is incredible to think that this film is Malle's third film. It is an extremely mature piece of filmmaking, and it loves its characters and the situations in which they find themselves. Not boring in the least, the film carefully and patiently watches the characters as they try to get through one strange night. Wonderful film. See it in the theater, if you can. 4 1/2 out of 5.
__________________
I couldn't believe that she knew my name. Some of my best friends didn't know my name. Oh man! How'd you get the beans above the frank? Those goofy bastards are about the best thing I've got going. And we guarantee just as good a workout as the 8-minute folk. You can't forget, it's a sumo culture, Ted. They pay by the pound over there. Sorta like, um, tuna. We got a bleeder! |
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#7
09-21-2005, 09:05 PM
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Quote:
Ha-ha, no I'm more like the thorn in RT's side. I'm glad that we are in sync on these great films, makes me feel I'm on the right track. Malle's THE LOVERS is also an excellent film from his earlier period. Another one that really surprised me was his documentary with Jacques Cousteau which probably influenced Wes Anderson's A LIFE AQUATIC (Cousteau's crew is not PC with the ocean creatures at all, hope PETA never gets their hands on a copy). Last edited by REEL_REVIEWER; 12-10-2006 at 09:53 AM. |
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#8
09-22-2005, 08:04 AM
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Quote:
And keep up the good work 
__________________
I couldn't believe that she knew my name. Some of my best friends didn't know my name. Oh man! How'd you get the beans above the frank? Those goofy bastards are about the best thing I've got going. And we guarantee just as good a workout as the 8-minute folk. You can't forget, it's a sumo culture, Ted. They pay by the pound over there. Sorta like, um, tuna. We got a bleeder! |
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#9
10-23-2005, 06:38 PM
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French actor Maurice Ronet (1925-1983, died @ age 55 w/ 103 titles)
Surprise Party (1983) - Georges Levesques
Balance, La (1982) - Roger Massina Déchirure, La (1982 TV movie) - Cyril Un matin rouge (1982) - Henri Guérilléra, La (1982) - Brutus Nuit du général Boulanger, La (1982 TV movie) - Le général Boulanger Ce fut un bel été (1982 TV movie) - Emmanuel Atterrissage, L' (1981 TV movie) - Paul Beau Pere (1981) - Charly Sphinx (1981) - Yeon Règlement intérieur, Le (1981) Orient-Express (1979 TV mini-series) - Rolf Freitag (segment "Jenny") Bloodline (1979) - Charles Martin Madame le juge (1978 TV series) - M. Bais (segment "Monsieur Bais") Mort d'un pourri (1977) - Philippe Dubaye The French Woman (1977) - Pierre Take Me to the Ritz (1977 TV movie) - Philippe Gregor Homme de sable, L' (1976 TV movie) - Simon Durbain, l'architecte Golden Night (1976) - Nuit d'or Percy Is Killed (1976) Peut-être en automne (1976 TV movie) - Pierre À l'ombre d'un été (1976) Oh mia bella matrigna! (1976) - Luigi The Golden Mass (1975) - David To the Bitter End (1975) - Paul Jordan Only the Wind Knows the Answer (1974) - Robert Lucas Fargeot, Les (1974 TV series) - Lui-même/Himself Cri du coeur, Le (1974) - Mathieu, le père d'Alexandre The Destructors (1974) - Inspector Briac Commissariato di notturna (1974) - Il guardiano notturno Seduzione, La (1973) - Giuseppe Lagana The Crazy Capo Affair (1973) - Diserens Don Juan ou Si Don Juan était une femme... (1973) - Pierre Gonzague Without Appeal (1973) - Maury Galets d'Étretat, Les (1972) - Kelvo Odeur des fauves, L' (1972) - Marc Fontemps The Red Room (1972) - Jean Gerfaud Diavolo nel cervello, Il (1972) Heure éblouissante, L' (1971 TV movie) - Mr. Sedley The Deadly Trap (1971) - L'homme de l'organisation/Stranger Raphael, or The Debauched One (1971) - Raphaël de Lorris A Little, a Lot, Passionately (1971) Qui? (1970) - Serge Last Leap (1970) - Garal The Modification (1970) - Léon Delmont Splendori e miserie di Madame Royale (1970) - Commissario The Vixen (1969) - Jérôme The Swimming Pool (1969) - Harry Femme infidèle, La (1969) - Victor Pegala Delphine (1969) Birds in Peru (1968) - Rainier How Sweet It Is! (1968) - Phillipe Spirits of the Dead (1968) - Récitant (voice) (uncredited) Diablo bajo la almohada, Un (1968) - Lotario The B*tch Wants Blood (1968) Route de Corinthe, La (1967) - Dex The Champagne Murders (1967) - Paul Giardino delle delizie, Il (1967) Amador (1966) - Amador Lost Command (1966) - Capt. Boisfeuras Ligne de démarcation, La (1966) - Pierre, comte de Damville Longue marche, La (1966) - Le docteur Chevalier Three Rooms in Manhattan (1965) - Francois Comte Circle of Love (1964) - Henri Donde tú estés (1964) - Paul Vallier Pariahs of Glory (1964) - Ferrier The Pit and the Pendulum (1964 TV short) - Le condamné à mort The Thief of Tibadabo (1964) The Victors (1963) - French Lieutenant The Fire Within (1963) - Alain Leroy Scarlet Eye (1963) - Dr. Gérard Rinaldi Enough Rope (1963) - Walter Saccard Casablanca, Nest of Spies (1963) - Maurice Desjardins Dénonciation, La (1962) - Michel Liberté I (1962) - Michel Portrait Robot (1962) - Gilbert Time Out for Love (1961) - Philippe Rendez-vous de minuit, Le (1961) - Pierre Neyris Peccato degli anni verdi, Il (1960) - Paolo Donati Mi último tango (1960) Purple Noon (1960) - Philippe Greenleaf The Devil Made a Woman (1959) - José This Desired Body (1959) - Henri Messardier Un jeudi comme les autres (1959 short) - Récitant/Narrator (voice) That Night (1958) - Jean Mallet Carve Her Name with Pride (1958) - Resistance worker Elevator to the Gallows [aka 'Frantic' (1958)] - Julien Tavernier  He Who Must Die (1957) - Michelis Section des disparus (1956) - Juan Milford The Blonde Witch (1956) - Laurent Brulard The Aristocrats (1955) - Christophe de Conti Gueule d'ange (1955) - Gueule d'Ange House of Ricordi (1954) - Vincenzo Bellini Castles in Spain (1954) - Miguel Murillo Guérisseur, Le (1954) Casta diva (1954) - Vincenzo Bellini Lucrèce Borgia (1953) - Perotto Endless Horizons (1953) - Marc Caussade Poison Ivy (1953) - Mickey The Seven Deadly Sins (1952) - Le curé (segment "Luxure, La/Lust") Desperate Decision (1952) - Jim Perfectionist (1951) - François Rendezvous in July (1949) - Roger Last edited by REEL_REVIEWER; 12-10-2006 at 09:55 AM. |
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#10
11-20-2005, 09:48 AM
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French character actor Lino Ventura - 1919-87, died @ age 68 w/ 77 films)
Rumba, La (1987) - Un caïd
Sword of Gideon (1986 TV movie) - Papa 7ème cible, La (1984) - Bastien Grimaldi Cento giorni a Palermo (1984) - General Carlo Dalla Chiesa Ruffian, Le (1983) - Aldo Misérables, Les (1982) - Jean Valjean Espion, lève-toi (1982) - Sébastien Grenier Garde à vue (1981) - Inspector Antoine Gallien Sunday Lovers (1980) - François Quérole (segment "The French Method") Homme en colère, L' (1979) - Romain Dupre The Medusa Touch (1978) - Brunel Un papillon sur l'épaule (1978) - Roland Fériaud Cadaveri eccellenti (1976) - Inspector Amerigo Rogas The French Detective (1975) - Verjeat The Cage (1975) - Julien Gifle, La (1974) - Jean Doulean Uomini duri (1974) - Father Charlie Emmerdeur, L' (1973) - Ralf Milan Far West (1973) Happy New Year (1973) - Simon The Right of the Maddest (1973) - Le deuxième motard The Silent One (1973) - Clément Tibère Aventure, c'est l'aventure, L' (1972) - Lino Massaro The Valachi Papers (1972) - Vito Genovese Rum Runners (1971) - Cornelius von Zeelinga Fantasia Among the Squares (1971) - Sagamore Noonan Last Known Address (1970) - Marceau Leonetti The Sicilian Clan (1969) - L'inspecteur Le Goff Armée des ombres, L' (1969) - Philippe Gerbier Rapace, Le (1968) - Le rital The Last Adventure (1967) - Roland Deux romains en Gaule (1967 TV movie) Deuxième souffle, Le (1966) - Gustave 'Gu' Minda The Wise Guys (1966) - Laurent With the Lives of Others (1966) - Viviana Let's Not Get Angry (1966) - Antoine Beretto Cloportes (1965) - Alphonse Maréchal The Dictator's Guns (1965) - Jacques Cournot The Great Spy Chase (1964) - Francis Lagneau The Monocle (1964) - Elie's Client (uncredited) Weeping for a Bandit (1964) - El Lutos Cent mille dollars au soleil (1964) - Hervé Marec dit 'Le plouc' Monsieur Gangster (1963) - Fernand Naudin Carmen di Trastevere (1963) - Vincenzo The Devil and the Ten Commandments (1962) - Garigny (episode "Homicide point ne seras") Hitch-Hike (1962) - Le conducteur de car Emile's Boat (1962) - Émile Bouet Three Penny Opera (1962) - Tiger Brown The Last Judgement (1961) - Giovanna's father The Lions Are Loose (1961) - Challenberg Ragazza in vetrina, La (1961) - Federico Re di Poggioreale, Il (1961) Taxi for Tobruk (1960) - le brigadier Theo Dumas Herrin der Welt - Teil II, Die (1960) - Biamonte Mistress of the World (1960) - Biamonte The Big Risk (1960) - Abel Davos Chemin des écoliers, Le (1959) - Tiercelin 125 rue Montmartre (1959) - Pascal Un témoin dans la ville (1959) - Ancelin Marie-Octobre (1959) - Carlo Bernardi, patron de boîte de nuit Twelve Hours by the Clock (1959) - Albert Fourbieux Pensione Edelweiss (1959) - Borcher The Beast Is Loose (1959) - Paul The Gorilla Greets You (1958) - Géo Paquet Modigliani of Montparnasse (1958) - Morel Elevator to the Gallows (aka 'Frantic' / 1958) - Inspector Cherier  [B&W still from 'Touchez pas au Grisbi' - another good French noir] Inspector Maigret (1958) - Insp. Torrence Dishonorable Discharge (1957) - Paulo, Claire's Lover Three Days to Live (1957) - Lino Ferrari Étrange Monsieur Steve, L' (1957) - Denis Rouge est mis, Le (1957) - Pepito Action immédiate (1957) - Bérès Burning Fuse (1957) - Inspecteur Crime and Punishment (1956) - Gustave Messonnier Law of the Streets (1956) - Mario Razzia (1955) - Le Catalan (Touchez pas au) Grisbi (1954) - Angelo Fraiser Last edited by REEL_REVIEWER; 12-10-2006 at 09:58 AM. |
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#11
12-21-2005, 01:54 PM
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A few words from Louis' younger bro ...
Elevator to the Gallows
• by Vincent Malle, brother of director Louis Malle
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I was still in elementary shool when my brother Louis made Elevator to the Gallows. After all he was barely 24 years old himself. But I remember the buzz in the family and my new status at school when the first reviews came out. Suddenly everybody—including the parents of schoolmates—were my best friends and wanted cinema passes and autographed photos. That was my first brush with fame and it confirmed an already well established love for the cinema.|
#12
01-26-2006, 03:22 PM
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 Louis Malle shot his lead actress Jeanne Moreau in close-up and natural light and often without make-up. Moreau - something of a French icon - had never been seen like this before, to the extent that lab technicians, reportedly appalled at how unflatteringly she was photographed, refused to process the film. Once they were persuaded to, however, it soon began clear that Malle had captured every nuance of Moreau's performance. Last edited by Darko, Donnie; 03-25-2006 at 09:12 PM. |
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#13
03-25-2006, 09:01 PM
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On Criterion DVD in the USA now!!!  (worth a rental or purchase?) DVD specs: MPAA Rating:  Dolby, French (Dolby Digital 1.0) Widescreen-Aspect Ratio: 1.66:1 Subtitles: English New, restored high-definition digital transfer New and improved English subtitle translation Extras: New and archival interviews with Louis Malle, actors Jeanne Moreau and Maurice Ronet, and original soundtrack session pianist Footage of Miles Davis improvising the film's score New video discussion about the score with jazz critic Gary Giddins and musician Jon Faddis Essays by critic Terrence Rafferty and producer Vincent Malle Last edited by Darko, Donnie; 12-17-2006 at 10:46 PM. |
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