Elevator To The Gallows (1958)

French Film Noir Directed by Louis Malle Accentuated by Miles Davis

May 12, 2009

Director Louis Malle and Jazz legend Miles Davis came together for the creation of Elevator To The Gallows, a film noir classic on par with the best American noir.

Written by Malle, along with two French novelists, Noël Calef and Roger Nimier, Elevator To The Gallows, or Ascenseur pour l'échafaud, is a classic film noir, in the vein of American classics, like Billy Wider’s Double Indemnity (1944), or Howard Hawks’ The Big Sleep (1946).

Louis Malle, released Ascenseur pour l'échafaud in January of 1958; and then, nine months later, on November 5th, two months after his 26th birthday, released Les Amants (The Lovers). An incredible feat, for any director, to premiere two great and dramatically different films, in the same year; more remarkable considering the film maker’s age.

The great jazz trumpeter and composer Miles Davis was less than two years away from releasing one of the greatest, and most beloved jazz albums of all time, Kind of Blue (August 1959); when Mr. Davis was approached by Louis Malle’s assistant director and screenwriter, Jean-Paul Rappeneau, with a proposition to write and record the score for their current film in post production, Elevator To The Gallows.

The score Miles Davis recorded was perfect; haunting and evocative; sexy and mysterious. Illustrated right from the opening shot of the film: a close up of Jeanne Moreau, breathlessly conspiring a murder with her lover, played by Maurice Ronet; as Miles’ man on bass, Pierre Michelot, sets the keynote, in a low rumble, like distant thunder rolling in.

In no time, Maurice Ronet, as Julien, has begun to carefully execute the murder scheme, as Miles’ understated and sinuous trumpet decries the coming bloodlust: Julien will murder his boss, Florence's husband.

As in all film noir, the crime invariably goes perfectly, except for one minor detail, that will in time, unravel everything. While Florence (Jeanne Moreau) waits patiently at a nearby café for Julien to arrive, so they can whisk away together, and live in the luxury afforded a rich widow, Julien becomes trapped in an elevator.

Compounding problems, Julein’s car is stolen from outside the office building by two ne'er-do-wells. Afterward, the thieves (two young lovers) will speed right past Florence at the café, as she sits and watches in bewilderment as her lover’s car goes by.

In a scene of perfect symmetry, between Malle’s sure-handed visual style and Miles Davis’ paramount musical score, Florence walks the glowing wet streets of the darkened city, murmuring to herself, as the men on the street corners turn around backward to gawk.

The two ne'er-do-wells will take the car out of the city and into the suburbs, where they will become involved in a deadly adventure of their own; which eventually will tie them back to Florence and Julien.

So, the stage is set: Julien walks in circles around the immovable elevator; while Florence searches for Julien, pondering her options; the two ne'er-do-wells settle into a swinging motor court at the outskirts of town, where trouble is waiting to happen.

The skill to carry the three concurrent stories in Elevator To The Gallows through to a satisfying and clever resolution, propelled Louis Malle to unprecedented heights for such a young film maker. While Miles Davis went on to receive a Grammy nomination for the score that produced the classic single, Générique.

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