"Ascenseur pour l'echafaud" was Louis Malle's first film. It's strange that the man that showed a natural talent for telling a crime story in a somewhat unusual way, didn't go back to the genre in his interesting and distinguished career as a director. The timing was right, the film came out in 1958. It was followed by "Les Amants", which proved he was a force to be reckoned with.
The director adapted a novel by Noel Calef that presented a classic situation for these types of crime films. A young and beautiful woman married to an rich older man who finds herself passionately in love with a younger man that works for her husband. The old man has to be eliminated if the lovers are to aspire to a life together.
Julien Tavernier, the young man, plans and executes the crime that appears to be flawless. Stupidly, he overlooks a piece of rope he has left hanging from an the upstairs floor. As he does that, he is about to leave to meet Florence Carala, his lover, at a cafe on Boulevard Hausmann. As he goes back to take care of his mistake, the janitor stops the elevator that is carrying him upstairs. What to do? In the meantime, a young punk and petty criminal, Louis, who is picking up his girlfriend, Veronique, sees Julien has left the keys in the convertible car, plus his raincoat. He decides to take a joy ride. Florence, who happens to be looking to the street sees the car go by, but she notices there is a woman on the passenger's side. Florence decides to look for him.
This intensely satisfying crime film was given a great treatment by an inspired Louis Malle and he was blessed to have Jeanne Moreau to portray Florence. Louis Malle, like the directors that were arriving on the scene of the French cinema were impressed by the American crime and film noir genre, they discussed in magazines. These crop of new directors wanted to revolutionize the narrative and create a different way to present their stories. The streets of Paris became the backdrop to the movies that will follow.
What Louis Malle created was a moody film that tells a lot about the mind of the criminals as they are going through the anxieties of knowing what they had done and thinking how they would get away with the horrible crime they had committed. On the one hand, Julien, is the victim of Louis and Veronique, as they steal the convertible, only to get into trouble themselves. Florence's state of mind is right there on the screen, in front of us, as she roams the streets of Paris trying to make sense of what happened to Julien.
Jeanne Moreau gives an impeccable performance as Florence. We watch her as she goes from being sure of herself, to suddenly realizing she is defeated. What's more, in a ironic twist, her confession to the police will work against Julien, instead of helping him. She also incriminates herself in ways she never suspected when the candid pictures on a forgotten camera are developed. Jeanne Moreau is nothing short of fabulous.
Maurice Ronet, doesn't have the flashy opportunity in which to shine as does his co-star. His Julien is a man that wants to have it all, but he makes serious mistakes along the way. Georges Poujouly is seen as the petty criminal Louis who passes himself as Julien Tavernier. Charles Denner and Lino Ventura, who will go to bigger and better things later on in their respective careers are excellent, especially Mr. Ventura as the inspector Cherier, who figures the whole mystery.
This film was the debut of a man who went to do great work in his native France and have a second career in America. What distinguishes this film from others of the genre is the jazzy score by Miles Davis, whose music blends perfectly with the images one sees. The cinematography by Henri Decae shows us a nocturnal Paris far from the touristy places most directors love to present. Paris, as a backdrop, is what makes this film the joy it is to watch.
The director adapted a novel by Noel Calef that presented a classic situation for these types of crime films. A young and beautiful woman married to an rich older man who finds herself passionately in love with a younger man that works for her husband. The old man has to be eliminated if the lovers are to aspire to a life together.
Julien Tavernier, the young man, plans and executes the crime that appears to be flawless. Stupidly, he overlooks a piece of rope he has left hanging from an the upstairs floor. As he does that, he is about to leave to meet Florence Carala, his lover, at a cafe on Boulevard Hausmann. As he goes back to take care of his mistake, the janitor stops the elevator that is carrying him upstairs. What to do? In the meantime, a young punk and petty criminal, Louis, who is picking up his girlfriend, Veronique, sees Julien has left the keys in the convertible car, plus his raincoat. He decides to take a joy ride. Florence, who happens to be looking to the street sees the car go by, but she notices there is a woman on the passenger's side. Florence decides to look for him.
This intensely satisfying crime film was given a great treatment by an inspired Louis Malle and he was blessed to have Jeanne Moreau to portray Florence. Louis Malle, like the directors that were arriving on the scene of the French cinema were impressed by the American crime and film noir genre, they discussed in magazines. These crop of new directors wanted to revolutionize the narrative and create a different way to present their stories. The streets of Paris became the backdrop to the movies that will follow.
What Louis Malle created was a moody film that tells a lot about the mind of the criminals as they are going through the anxieties of knowing what they had done and thinking how they would get away with the horrible crime they had committed. On the one hand, Julien, is the victim of Louis and Veronique, as they steal the convertible, only to get into trouble themselves. Florence's state of mind is right there on the screen, in front of us, as she roams the streets of Paris trying to make sense of what happened to Julien.
Jeanne Moreau gives an impeccable performance as Florence. We watch her as she goes from being sure of herself, to suddenly realizing she is defeated. What's more, in a ironic twist, her confession to the police will work against Julien, instead of helping him. She also incriminates herself in ways she never suspected when the candid pictures on a forgotten camera are developed. Jeanne Moreau is nothing short of fabulous.
Maurice Ronet, doesn't have the flashy opportunity in which to shine as does his co-star. His Julien is a man that wants to have it all, but he makes serious mistakes along the way. Georges Poujouly is seen as the petty criminal Louis who passes himself as Julien Tavernier. Charles Denner and Lino Ventura, who will go to bigger and better things later on in their respective careers are excellent, especially Mr. Ventura as the inspector Cherier, who figures the whole mystery.
This film was the debut of a man who went to do great work in his native France and have a second career in America. What distinguishes this film from others of the genre is the jazzy score by Miles Davis, whose music blends perfectly with the images one sees. The cinematography by Henri Decae shows us a nocturnal Paris far from the touristy places most directors love to present. Paris, as a backdrop, is what makes this film the joy it is to watch.