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Elevator to the Gallows (1958)

Ascenseur pour l'échafaud (original title)
Not Rated | | Crime, Drama, Thriller | 29 January 1958 (France)
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A self-assured business man murders his employer, the husband of his mistress, which unintentionally provokes an ill-fated chain of events.

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(adaptation), (adaptation) | 3 more credits »
1 win. See more awards »

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Cast

Cast overview, first billed only:
...
...
...
Louis
...
Véronique
...
Simon Carala
...
Frieda Bencker
Sylviane Aisenstein ...
Yvonne, La fille du bar
Micheline Bona ...
Geneviève
Gisèle Grandpré ...
Jacqueline Mauclair
Jacqueline Staup ...
Anna
Marcel Cuvelier ...
Le réceptionniste du motel
Gérard Darrieu ...
Maurice
...
L'adjoint du commissaire Cherrier
...
Le substitut du procureur
Jacques Hilling ...
Le garagiste
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Storyline

Florence Carala and her lover Julien Tavernier, an ex - paratrooper want to murder her husband by faking a suicide. But after Julien has killed him and he puts his things in his car, he finds he has forgotten the rope outside the window and he returns to the building to remove it... Written by Stephan Eichenberg <eichenbe@fak-cbg.tu-muenchen.de>

Plot Summary | Plot Synopsis

Plot Keywords:

rope | murder | german | alibi | thief | See All (153) »

Taglines:

Frantic for life and love - Frantic for excitement See more »

Genres:

Crime | Drama | Thriller

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

Country:

Language:

|

Release Date:

29 January 1958 (France)  »

Also Known As:

Elevator to the Gallows  »

Box Office

Opening Weekend:

$7,354 (USA) (24 June 2005)

Gross:

$109,257 (USA) (16 December 2016)
 »

Company Credits

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Technical Specs

Runtime:

(copyright length)

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Louis Malle: mistakes Florence Carala (Jeanne Moreau) for a prostitute during her nocturnal walk. See more »

Goofs

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 »

Quotes

Julien Tavernier: How many billions did the Indochina War bring you? And now Algeria, how much?
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Connections

Referenced in Broken Embraces (2009) See more »

Soundtracks

L'Assassinat De Carala
Composed by Miles Davis
Performed by Miles Davis (Trumpet), Barney Wilen (Tenor Saxophone), Emilhenco (as René Urtreger, Piano), Pierre Michelot (Bass) and Kenny Clarke (Drums)
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User Reviews

 
A Film Noir Masterwork - Breathtaking to the Eye and the Ear
29 August 2005 | by (Queens, NY) – See all my reviews

"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.


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