Released: 1958

Dir.: Louis Malle

First time viewing.

              Deep in my gut, which can be a dark and foreboding place, I knew Elevator to the Gallows was going to be good. What I didn’t realize was how good it was going to be. It’s not just good, it’s great, especially if you like seeing Hollywood formulas turned on their head.

              Elevator to the Gallows is a French film noir/new wave crime story that reimagines the classic story of committing murder for love. Florence Carala (Jeanne Moreau) and Julien Tavernier (Maurice Ronet) have hatched a scheme to kill Florence’s husband, and Julien’s boss, industrialist/arms dealer Simon Carala so they can be together. It’s the perfect crime, that goes wrong not long after the murder, launching a series of twists and turns that are as fun to watch as they are unpredictable.

              There are actually two crime stories unfolding simultaneously each oblivious to the other, yet hopelessly intertwined. Small time crook Louis steals Julien’s car, and with his girlfriend Veronique, they go for a joy ride. Florence spots the car, thinking Julien is at the wheel with a younger woman as his passenger, and thus unleashes a series of misinterpretation, deception, and just plain bad luck.

              There is a beauty to the film that transcends the visual aesthetic. Florence and Julien are never in the same scene, only seen together in photographs near the end of the film. While Louis and Veronique are almost always together as their adventure spirals out of control. It’s clever nuances like this I like to pick up on especially upon the first viewing. The fact that Florence and Julien are never together might seem like a limitation in the story telling, but rather it enhances the circumstances, as Julien and Florence don’t know one another’s true situation, or what they are thinking. Bringing into question, from Florence’s perspective, how well they truly know or love each other. Meanwhile, Louis and Veronique are continually surprising each other, especially Louis’ erratic and sloppy criminal behaviour.

              So, you have this wonderfully nuanced structure, wrapped up in beautifully grainy black and white cinematography that I just loved looking at. The documentary look of the Parisian streets, shops, and cafes after dark, accompanied by Miles Davis’s gorgeous jazz score, made me wish I could pull up a chair and sit next to Florence as she tries to make sense of what has been transpiring over the past few hours. I can’t help her mind you; she must figure it out for herself, and I’m not about to give anything away.

              Not knowing much about the background of Elevator to the Gallows, nor being aware of the depth of the storyline, made this film so unexpected and a joy to watch. As a fan of film noir, I don’t know how I could have missed it until now, but I am so glad to have discovered this film. It is essential, ultra cool, and a gem.

Elevator to the Gallows can be seen on the Criterion Channel.