Plot: What’s it about?
Florence (Jeanne Moreau) is married to the very wealthy arms dealer Simon Carala (Jean Wall), but she isn’t a model wife. She is not a faithful woman, as she breaks her vows to engage in an affair with Julien Tavernier (Maurice Ronet), a man who works for her husband. Julien served as a paratrooper in numerous conflicts, battles which allowed Simon to make a fortune in his trade. Now he has other plans, not to serve Simon, but to kill him and make Florence his own. But to commit the murder himself would be no simple task, as he has access to Simon that few others have and known motive, his connection with Florence. Even so, Simon pushes on and crafts a plan he feels will be close to flawless, if executed to the letter. He sneaks into Simon’s office after hours, shoots him, then arranges the scene to look like a suicide. He even locks the doors from the inside, then slips out of a window, to provide even more cover. But on his way to meet Florence, he realized he had left evidence behind and a return to the office must be made. As Florence waits for her lover, Julien finds himself trapped between floors in an elevator, as the power has been shut down for the night. As time ticks by, even more intrigue is added, but when the power is back on, will Julien still be a free man?
This was the debut feature from director Louis Malle, who also helmed such pictures as Au Revoir Les Enfants, My Dinner with Andre, Vanya on 42nd Street, and Pretty Baby. I’d never seen Elevator to the Gallows, but had heard some positive takes, so I looked forward to this release. I have to admit, the soundtrack is excellent and is head and shoulders above most movie music. Then again, with a legend like Miles Davis in control of the music, you have to expect excellence. While most would classify this as film noir, it doesn’t follow the conventions found in most of the genre’s representations. There is little formula on showcase, just a darkness that looms and the unpredictable nature of what life can unleashed. So this doesn’t adhere to the usual formulas and to me, that is a positive. But other elements seem right at home in noir, the paranoia, the depression, and the general darkness that hangs overhead. The performances are solid all around, with Jeanne Moreau in an impressive early role and Maurice Ronet also in fine form. I wouldn’t call Elevator to the Gallows a classic, but it is a very good movie and is well recommended.
Video: How does it look?
Elevator to the Gallows is presented in 1.66:1 anamorphic widescreen. This is a Criterion release, so we have a new, restored transfer struck from high definition materials. A few minor, minor specks can be seen, but this is another successful restoration that provides an older film a new visual presence. The image is quite sharp, with great detail levels that are sure to impress. The black & white visuals shine here, thanks not only to the clean print, but also the sparkling contrast. I found black levels to be even and consistent, with no flaws to mention, just a superb overall visual presentation.
Audio: How does it sound?
The original French soundtrack is preserved here via a mono option, which seems to be more than up to snuff. I heard some small source flaws at times, but nothing even close to serious, so I doubt anyone will be let down here. The vocals seem on the mark and never get muddled, while the music and sound effects stream through with no real problems. I think as far as 1957 mono tracks go, this is a good one and as such, I won’t complain much. This disc also includes new & improved optional English subtitles, should you need those.
Supplements: What are the extras?
This disc includes a new interview with star Jeanne Moreau, as well as archival interviews with Moreau, costar Maurice Ronet, director Louis Malle, and soundtrack pianist Rene Urteger. Not landmark stuff, but decent and worth the time to check out. You can also view footage of Miles Davis scoring the picture, Malle’s student film Crazeologie, and two of the film’s theatrical trailers.
