Search form

ELEVATOR TO THE GALLOWS (1958) (***1/2)

Check Out the Trailer

This early thriller from director Louis Malle (AU REVOIR, LES ENFANTS, ATLANTIC CITY) drips with irony and tension from the opening until the end. It presents a film noir scenario of lovers in a murder conspiracy with a classic locked room mystery.

Florence (Jeanne Moreau, JULES AND JIM) desperately talks with her lover Julien Travernier (Maurice Ronet) over the phone. Their passion is the kind typical of a French film. After the call, Julien proceeds to carry out an elaborate scheme to murder his boss Simon Carala (Jean Wall) — Florence’s older husband. Julien’s plan is brilliant, but one mistake committed in a rush will unravel a progression of events, leading to the downfall of two couples. That second couple is young flower girl Veronique (Yori Bertin) and her two-bit hood boyfriend, Louis (Georges Poujouly, DIABOLIQUE). We don’t learn much about Florence and Julien in the beginning; just that they are in love. We watch as Julien carries out his devious, but ingenious, plan, but dread what will happen after he leaves a key piece of evidence behind. Things only get worse from there.

It’s hard to describe much more without giving too much away. The plot will deal with mistaken identities and ironic, incriminating evidence. What would you do if after seemingly getting away with a murder you actually committed, you were charged with a murder you have nothing to do with?

Moreau gives the best performance, given the most emotional range. Her desperate search for Julien after he doesn’t show up at their rendezvous spot, displays her ability to create more depth in a character than what is just in the dialogue.

Despite some jazzy post-modern vibes in the opening, Malle’s style is straightforward there after. Miles Davis’ steamy music really enhances the mood of danger and intrigue in the wet, dirty streets of Paris. Some argue whether Truffaut’s THE 400 BLOWS or Godard’s BREATHLESS birthed the French New Wave movement, but there is evidence the movement of free flowing cameras, less artificiality and freedom from conventions was born in the French crime films of the 1950s. The famed couple in BREATHLESS shares many similarities to Veronique and Louis.

Malle would go on to embrace the New Wave-style in his films of the 1960s and ‘70s. ELEVATOR is an example of a master filmmaker, working in a genre and making it seem like something you’ve never seen before.

Rick DeMott's picture

Rick DeMott
Animation World Network
Creator of Rick's Flicks Picks