Elevator to the Gallows - Criterion Collection

I have wanted this movie for a long time but was put off by the price. It was worth every penny. They just don't make movies like this any more. I have always loved Jeanne Moreau since seeing her in "The Lovers". She lights up every movie she is in. The movie is a love, murder, suspense thriller with the inevitable conclusion. What makes it so special is the soundtrack is Miles Davis and sidemen playing along while watching the silent movie. He caught the moods of the film exactly. If you are a jazz fan you won't be disappointed.

The film is interesting, the score is very much in line with Davis's music in the 50s. Includes astonishing casual racism by alleged jazz critic Gary Giddins, who apparently believes one night with Louis Malle not only resurrected Davis's career but provided the foundation for his music for the rest of his life.

Amid war, espionage and social oppression, wealthy Florence Carala (Jeanne Moreau), fed up with her corrupt husband, becomes enamored with one of his most trusted employees, Julien Travernier (Maurice Ronet). Together, they plot a way for their hearts to belong exclusively to one another. Separated in a manner neither could imagine, forlorn Florence is silently consumed by jealousy, blame, fear, and desperation as she searches all night, warmed only by the passion of her desire. By chance, young lovers Louis (Georges Poujouly) and Veronique (Yori Bertin), intersect paths with Julien and Florence in ways that forever alters the future of all four. With skillful direction and co-authorship, Louis Malle depicts indifferent anti-social behavior capitulating 10 years after this directorial debut. Optimizing a minimal budget, the film-noir ELEVATOR TO THE GALLOWS employs stark natural lighting, shadows, and alternating depth-of-field, punctuated with just enough dialogue to make reading English subtitles a necessity but not a chore. ELEVATOR conveys the feeling that one is witnessing the genesis of something big. Indeed, the synergism of creative expression combined in roughly 90 minutes helped define future roles of Louis Malle, Jeanne Moreau, and Miles Davis. The Criterion Collection of DVD extras makes this a true collector's item. With the silent film projected in front of him from a light booth over his shoulder, watch Miles Davis interpret the emotions of Moreau as she wanders along the Champs-Elysees under Paris streetlights. Listen to ambitious director Malle confidently discuss his yet-to-be-released film. Then sit down with him 18 years later as he reveals its impact on cinema. Hear Moreau in the 21st century convey how ELEVATOR was a catalyst for similar emotional attachment between her and the director nearly 50 years ago. At the 1993 Caines Festival, Moreau and Malle sit down together to share when they first met; Malle reveals that Moreau's prominent "Have you seen Julien?" introspective role was absent from the original novel but crafted just for her to give the film its enduring impact. Such footage is spectacular. Like Hitchcock, Malle makes a brief cameo appearance. A lighthearted reference to his prior experience with Jacques Cousteau is made when a woman tells Veronique, "You ought to try underwater photography." It is amazing to think that prior to ELEVATOR, the only thing Malle directed was fish. The spatial void of physical contact, melancholy music, and to American audiences, lack of English dialogue may leave some wanting more action. But such desire turns out to be a platform for power in the movie -- the sense of an unsatiated night of emotional turmoil transmigrates to the viewer. If I were were fluent in French, I would likely rate this movie with 5 stars. Feeling that some of the natural dialogue is lost in the translation, I subtract one when recommending to fellow English speaking viewers. Movie quote: "I lost you in the night Julien. I shouldn't have kissed you or caressed your face. If you didn't kill Simon, never mind. If you were afraid, so much better. But you must come back."

An auspicious debut for Malle, just 25 when "Gallows" opened, this superb thriller pairs a noirish plot involving two murderous couples with a lurid, claustrophobic atmosphere. Julien's efforts to escape the crime scene are intercut with shots of the car thieves's dark exploits and Florence's aimless walks along the Champs-Elysées looking for Julien--a bold technique, in that the film's protagonists remain isolated for most of the picture. Moreau, who cemented her career on the strength of this performance, is a vision of distressed beauty, woefully illuminated by the glare of nighttime Paris. Lean direction, vivid camerawork, and a moody, soul-stirring jazz soundtrack by Miles Davis further emphasize the air of grim fatalism. Edgy and twisted, these "Gallows" will leave you hanging--and you'll love it.

One of my top French films of all time. Jeanne is at her peak of sexiness and Miles is at his peak of creativity, what else could you ask for? Now pour yourself a big glass of Bordeaux, slip this movie in the dvd player and enjoy a masterpiece!

This is an excellent first movie by Louis Malle and includes an excellent original score by Miles Davis. The movie gives you a glimpse of Paris in 1958.

Disc Two only contained one of the special features listed, so I am returning and hope the replacement will contain them all.would have given it 5 stars, otherwise. One of the early great French New Wave films.

I loved this dark and interesting film. Not for everyone but if you're a film history buff you'll get it.

. The film is brooding with unfortunate twists of fate as you would expect from the style of French film noir. The DVD quotes Halliwell’s guide to the film as “Cold, Clever and rather Elegant:” I agree! The music score by Miles Davis undertones a brood of menace, and seems to follow you everywhere without escape –ubiquitously! The film and the music appear to be inseparable -and this is how the music affects me: “Night time, night train – black and sinister – the train approaching, it has a blue light of menace, lingering and watching, like a mechanical, revolving eye of evil -but too late: the blue eye has spotted me from afar, and I await –frozen in thoughts of dreams, in black terror and shadows, as I walk across yards of railway lines, in criminal and devious mind, to escape the black train....” Of course, there is no train in this film, but when I hear Miles Davis pumping out prolonged sounds from his trumpet, and then the music stops -and in silence - my mind goes into a guilty state of panic as though I have been caught; but strangely with the music playing, I get some solace that I am still fearfully running away from the crime....my idea comes from the main and throbbing theme ( 'Nuit Sur Les Champs-Elysees' ) while Jeanne Moreau is parading down the avenue in despair: (... there is a clap of thunder in the sky, and rain is near: ) The music certainly enhances the quality of the film! The film takes you on a journey of dread: dark humour, hate, and murder - and it all starts with a premeditated murder, and then a spontaneous one....the unfortunate turn of fate begins when the elevator ( lift ) in the office -shuts down along with the electrical current at close of office time -with the murderer inside the lift, who is keen to flee the scene with a remarkable alibi in hand. The journey will also involve a couple of tear-away lovers who steal the murderer's car outside the office - and so we have the beginnings of two dramas -interlinked, and with a casual and indiscreet police department involved here and there; it is like a double-pieced jigsaw puzzle that fits either way, but with different pictures and patterns? The film seems to reflect a tough period in France that had been influenced in an undertone of past occupation following their involvement with Algeria: That is a rough sketch of the plot, except that the story and film is attractive to a remarkable and exquisite feeling of being there in the film, and in the present - and draws the viewer closely into the tension of drama. I just love how the film unfolds with remarkable cinematography in black and white, mesmerizing and sensational, as though the photography is in a singular formation of imaginary: Sensational! It is wonderful to have a DVD copy of the film, ( and the CD music as well. ) Louis Malle, the film director had a thought of genius to ask Miles Davis to write and play the music score while Miles was in Paris: The result is astonishing! The film is angry, arrogant: dry, and has a fresh feeling to French New Wave cinema: film buffs will love this film in awe of classic French cinema and photography, and I would highly recommend. Timeless, never dated I say! I dedicate my review to Lynn in Cirencester ( on behalf of Oxam ) of whom, on heartfelt zeal - she kindly provided me with a copy of the DVD, and upon speaking to the lady herself, she assured me of its postal delivery: I thank her! NB. I do acknowledge that the movie comes under 'French film noir' -or 'French New Wave' - but I have just gained a very much needed sense of humour and lightness with regard to the compulsory, but casual need of French I/D cards and to the theatrical police procedures during a prevalent time of history in France: ( remembering that France is a Republic! )

Perfect item quickly delivered. Thanks and Merry Xmas! :)

Des destins se croisent : le drame se noue, les personnages se débattent en vain contre le Destin implacable. A la fin, il n' y a que des perdants. Et tout ça pour rien car il aurait suffi qu'un des personnages ne lève pas les yeux,à un moment donné, pour s'apercevoir de quelque chose (que je ne dévoilerai pas), pour qu'il ne se passe rien. Un bijou cinématographique dont on ne sort jamais indemne même après plusieurs visions. Et puis la trompette de Miles Davis envoûtante, déchirante

観よう観ようと思いながら、見過ごしていたが。 後悔。 想像以上の傑作でした。 愛する二人が最後まで、出会うことは無い。 しびれる。 クラシックベンツ。 格好良すぎ。 登場人物の女性。 皆、美しすぎ。 弱冠25歳の監督作品。 驚愕。 こんな映画があったことに、感動。 アラン・ドロンの映画とか観てきたけど。 本作がフランス映画の最高傑作。

“Elevator to the Gallows” or “Lift to the Scaffold” (original title “Ascenseur pour l'Échafaud”) is a film that I've now finally seen, having known about it for many years. I love this cinema – the film was released in 1958, it's in French, it stars Jeanne Moreau. Nearly fifty years ago I first discovered the wealth of foreign films that were out there if you were lucky enough to come across them (which for me at the time would have been late night on BBC2 with the likes of “The 400 Blows”). Today the majority of films that I watch are not English dialogue, though today they tend to be more recently made films, but I am still discovering amazing films from decades ago – and “Ascenseur pour l'Échafaud” is an excellent example of this. I found the film to be superb. Directed by Louis Malle directing his first feature film, “Elevator to the Gallows” has a great story that is delivered brilliantly and a cool soundtrack from Miles Davis and his fellow musicians. I watched in from a DVD (ASIN: B00QQGO6O8) and it would seem that both the original photography and the transfer of it onto the DVD are top quality. The picture and sound were faultless. Re the cinematography, I might almost have expected some poorly lit shots where the action takes place at night and in the street or in bars, but everythign is photographed (and illuminated) perfectly. The film has an Hitchcock-esque feel about it and the tension doesn't let up from pretty much the start of the film until the last frame. There are unexpected twitst and turns to the plot and Jeanne Moreau oozes sex appeal as she walks Paris by night wanting answers. If you appreciate French Cinema from the 1950's (or at least the best of it) then I'd highly recommend watching this film. On the DVD (ASIN: B00QQGO6O8) you get: “Elevator to the Gallows” (1 hour 32 minutes) Scene Selection Optional English and Korean Subtitles