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 top student in his class. Rivals at first, the roommates form a bond and share a secret.
This merry farce depicts a satirical view of the French society: Ten-year-old Zazie has to stay two days with her relatives in Paris, so that her mother can spend some time with her lover. ... See full summary »
As France is nearing the end of the first Indochina War, an open-minded teenage boy finds himself torn between a rebellious urge to discover love, and the ever-present, almost dominating affection of his beloved mother.
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 <firstname.lastname@example.org>
Louis Malle: mistakes Florence Carala (Jeanne Moreau) for a prostitute during her nocturnal walk. See more »
Julien is supposed to climb up at the front side (north-east) of the building. Actually he is climbing at the south-east end, as the building in the background reveals. It's the same one in the background as he is climbing out of the window and the camera is pointing along the building to the south-east end. See more »
Greetings again from the darkness. The phrase Film Noir conjures up a certain feel and look and "Gallows" certainly captures what we have come to expect from the genre. However, the great director Louis Malle goes even further with his minimalistic approach to sound, lighting and dialog. Where 1944's "Double Indemnity" wreaks explosive on screen passion, Malle offers up a quiet simmering that draws the viewer into the lives of the main characters.
Jeanne Moreau is the perfect pouty French femme fatale. Her scenes of walking (wandering) the dark, rainy streets of Paris are chilling to watch for film lovers. The weak lighting and lack of make-up allow Moreau's true emotions to guide us. Malle also is tremendous in his filming of the elevator scenes with Maurice Ronet.
The secondary characters of the young lovers played by Yori Bertin (Veronique) and George Poujouly (Louis) are unmistakable in their likeness to Natalie Wood and James Dean. Watching two young kids carelessly destroy their own lives, as well as that of others, is quite the contrast to the well-conceived scheme of Moreau and Ronet.
I have not been able to come up with an apt description of the powerfully improvised jazz score from the legendary Miles Davis. The approach has been mimicked over the years, but never duplicated. It is startling in its ability to slap the viewer in the face! Moreau is of course a screen legend and went on to star in "Jules and Jim", Truffaut's "The Four Hundred Blows" and my personal favorite, "The Bride Wore Black". As great as she was in all of these, I am not sure her essence was ever better captured than her wandering through the Paris streets in "Elevator to the Gallows".
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