IMDb RATING
7.9/10
29K
YOUR RATING
A self-assured businessman murders his employer, the husband of his mistress, which unintentionally provokes an ill-fated chain of events.A self-assured businessman murders his employer, the husband of his mistress, which unintentionally provokes an ill-fated chain of events.A self-assured businessman murders his employer, the husband of his mistress, which unintentionally provokes an ill-fated chain of events.
- Awards
- 1 win
Storyline
Did you know
- TriviaMiles 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.
- GoofsWhen 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.
- Quotes
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.
- SoundtracksAscenseur 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)
Featured review
No need to recap the plot. The movie really represents a triumph of form over content. Seldom have I seen a smoother technique than director Malle shows here. The transition from scene to scene is almost seamless and keeps the viewer engaged regardless what's developing plot-wise. Then too, Decae's camera work shows how compelling natural lighting can be. The overall effect is one of effortless fluidity, a style well suited to lyrical subjects.
The trouble is the material itself is better suited to Hollywood B-movie techniques. In short, the material is jagged, while Malle's style is smooth, resulting unfortunately in a thriller drained of inherent drama. Note, for example, the elevator sequence, a predicament fairly bursting with suspenseful potential. Yet Malle's style does little to heighten the implicit desperation and even cuts away (though smoothly) from the mounting tension. To be fair, Ronet (Tavernier) adds nothing by remaining impassive throughout. (Perhaps paratroopers never sweat.) Thus the movie's dramatic centerpiece flattens out into just one more event among many.
Then there are the various misadventures of the free-spirited kids. They look cuddly, but remain amoral cyphers throughout, their double homicide coming across again as just one more event, no more important than Florence's (Moreau) dispirited walk up the avenue. In fact, the one time Malle highlights with his camera is that lengthy trudge through Paris, a director clearly fascinated by Moreau's distinctive appearance. Again, the style is smooth and polished, but also highly impersonal and homogenizing. I kept wishing one of Hollywood's noir masters like Nicholas Ray or Billy Wilder had gotten hold of the material first.
No need to go on apart from Malle about a sloppy script with its number of plot holes helpfully cited by other reviewers, or about overlooked details like a bullet to the head that raises no blood. All in all, I wonder how many folks would celebrate the film if it were not from France with Malle's name on it. Apart from its influence on French cinema, the movie does not wear well over time. Moreover, given the style he shows here, it's no surprise to me that Malle's breakthrough movie would be titled The Lovers rather than this over-civilized slice of thick ear.
The trouble is the material itself is better suited to Hollywood B-movie techniques. In short, the material is jagged, while Malle's style is smooth, resulting unfortunately in a thriller drained of inherent drama. Note, for example, the elevator sequence, a predicament fairly bursting with suspenseful potential. Yet Malle's style does little to heighten the implicit desperation and even cuts away (though smoothly) from the mounting tension. To be fair, Ronet (Tavernier) adds nothing by remaining impassive throughout. (Perhaps paratroopers never sweat.) Thus the movie's dramatic centerpiece flattens out into just one more event among many.
Then there are the various misadventures of the free-spirited kids. They look cuddly, but remain amoral cyphers throughout, their double homicide coming across again as just one more event, no more important than Florence's (Moreau) dispirited walk up the avenue. In fact, the one time Malle highlights with his camera is that lengthy trudge through Paris, a director clearly fascinated by Moreau's distinctive appearance. Again, the style is smooth and polished, but also highly impersonal and homogenizing. I kept wishing one of Hollywood's noir masters like Nicholas Ray or Billy Wilder had gotten hold of the material first.
No need to go on apart from Malle about a sloppy script with its number of plot holes helpfully cited by other reviewers, or about overlooked details like a bullet to the head that raises no blood. All in all, I wonder how many folks would celebrate the film if it were not from France with Malle's name on it. Apart from its influence on French cinema, the movie does not wear well over time. Moreover, given the style he shows here, it's no surprise to me that Malle's breakthrough movie would be titled The Lovers rather than this over-civilized slice of thick ear.
- dougdoepke
- Apr 24, 2011
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Details
- Release date
- Country of origin
- Official site
- Languages
- Also known as
- Frantic
- Filming locations
- 26 Rue de Courcelles, Paris 8, Paris, France(Tavernier climbing on the upper terrace)
- Production company
- See more company credits at IMDbPro
Box office
- Gross US & Canada
- $374,671
- Opening weekend US & Canada
- $7,354
- Jun 26, 2005
- Gross worldwide
- $431,784
- Runtime1 hour 31 minutes
- Color
- Aspect ratio
- 1.66 : 1
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Top Gap
By what name was Elevator to the Gallows (1958) officially released in India in English?
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