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7,9/10
28.632
LA TUA VALUTAZIONE
Un uomo d'affari sicuro di sé uccide il suo datore di lavoro, il marito della sua amante, provocando senza volerlo una sfortunata catena di eventi.Un uomo d'affari sicuro di sé uccide il suo datore di lavoro, il marito della sua amante, provocando senza volerlo una sfortunata catena di eventi.Un uomo d'affari sicuro di sé uccide il suo datore di lavoro, il marito della sua amante, provocando senza volerlo una sfortunata catena di eventi.
- Premi
- 1 vittoria
Trama
Lo sapevi?
- QuizMiles Davis recorded the music in a single recording session while he watched a screening. He composed it while watching a rough cut and then invited a quartet of French and US musicians in a for few hours (from 11pm to 5am one night), improvising each number and allegedly sipping champagne with Jeanne Moreau and Louis Malle.
- BlooperWhen Florence arrives at the motel, the photos are just being developed - with the lights on! Exposing the prints to light before fixation would make them turn black. By the way, it's not recommended to put your hands into developer.
- Citazioni
Julien Tavernier: Don't sneer at war. It's your bread and butter. Indochina netted you how much? And now Algeria. Have some respect for war. It's your family heirloom.
- Colonne sonoreAscenseur Pour L'Échafaud (Générique)
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)
Recensione in evidenza
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post-war politics from "The Third Man"-- and arms and oil dealers with military pasts in the Middle East are not outdated let alone adulterous lovers and rebellious teenagers.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.
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.
D’aiuto•10617
- noralee
- 29 ago 2005
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- How long is Elevator to the Gallows?Powered by Alexa
Dettagli
- Data di uscita
- Paese di origine
- Sito ufficiale
- Lingue
- Celebre anche come
- Elevator to the Gallows
- Luoghi delle riprese
- 26 Rue de Courcelles, Paris 8, Parigi, Francia(Tavernier climbing on the upper terrace)
- Azienda produttrice
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Lordo Stati Uniti e Canada
- 374.671 USD
- Fine settimana di apertura Stati Uniti e Canada
- 7.354 USD
- 26 giu 2005
- Lordo in tutto il mondo
- 431.784 USD
- Tempo di esecuzione1 ora 31 minuti
- Colore
- Proporzioni
- 1.66 : 1
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By what name was Ascensore per il patibolo (1958) officially released in India in English?
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