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 the 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?
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>
Mercedes-Benz "Gullwing" 300SLs are highly sought-after collector cars now. Produced from 1954 to 1957, they originally sold for $11,000 USD. A pair (Gullwing and Roadster) were offered together for $1.3 million USD in 2009, and in 2012 an extremely rare 1955 model with aluminum body (of which only 29 were made) was sold for $4.62 million USD. See more »
During the opening, Julien is seen in his office in the middle of the front-side. Later he is coming from the south-east end walking to middle to climb up. 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.
See more »
A Film Noir Masterwork - Breathtaking to the Eye and the Ear
"Elevator to the Gallows (Ascenseur pour l'échafaud)" is a master work, so it's startling to learn that it was Louis Malle's first feature. It's a mother lode textbook of how-to for noir genre filmmakers as he creates his own style from what he's learned from other masters.
Malle pays tribute to the tense murder style of Hitchcock with Billy Wilder's cynicism of selfishness a la "Double Indemnity" plus Graham Greene-like, post-war politics from "The Third Man"-- and arms and oil dealers with military pasts in the Middle East are not outdated let alone adulterous lovers and rebellious teenagers.
The film drips with sex and violence without actually showing either -- sensuous Jeanne Moreau walking through a long, rainy Paris night is enough to incite both.
The black and white cinematography by Henri Decaë is breathtakingly beautiful in this newly struck 35 mm print, from smokey cafés with ever watchful eyes like ours to the titular, ironic alibi's long shafts (which surely must have inspired a key, far paler scene in "Speed") to highway lights, to a spare interrogation box, but particularly in the street scenes. The coincidences and clues are built up, step by step, visually, including the final damning evidence.
Miles Davis's improvisations gloriously and agitatedly burst forth as if pouring from the cafés and radios, but the bulk of the film is startlingly silent, except for ambient sounds like rain that adds to the tension in the plot.
The characters are archetypes -- the steely ex-Legonnaire, the James Dean and Natalie Wood imitators, the preening prosecutor -- that fit together in a marvelous puzzle. But all are cool besides Moreau's fire, as she dominates the look of the film, just wandering around Paris.
There is some dialog that doesn't quite make sense at the end, but, heck, neither does "The Big Sleep" and this is at least in that league, if not higher in the pantheon.
77 of 91 people found this review helpful.
Was this review helpful to you?
| Report this