Elevator to the Gallows

There's no such thing as "the perfect murder". Many people have tried to commit it but they always get caught in the end. (And said murder is frequently committed for petty reasons.)

If only Florence (Jeanne Moreau) and Julien (Maurice Ronet) got that memo in Louis Malle's Elevator to the Gallows. They plot to murder her husband and make it look like a suicide. That part goes without a hitch; it's the aftermath when everything starts falling to pieces.

Being an early entry in the French New Wave, Elevator to the Gallows has a few distinct elements associated with the movement. It's much more intimate with those walking the Parisian streets than with the story itself. (It might work with some films but not all of them.)

In comparison with Malle's later films like The Fire Within and Au revoir les enfants, there's a strong arrogance throughout Elevator to the Gallows. (Most of it is just from Florence.) The characters we're introduced to are more concerned about their own well-being over everything else (including better judgment). It's hard to feel any sympathy for them. (Okay, maybe Julien.)

Elevator to the Gallows may be deemed as one of the great films to hail from France but in reality, its pride overshadows said greatness more often than not. Still, Malle managed to redeem himself with some of his follow-up works. (Hey, not every career of prominence started on the right foot.)

My Rating: ****

Au revoir les enfants

Stories told through the eyes of a child are bound to be more heartbreaking. How so? This is because (at least most of the time) they are unaware of the world around them. (Don't believe me? Go read or watch To Kill a Mockingbird.)

And this is the viewpoint that Louis Malle's Au revoir les enfants is told from. Semi-based on an event in Malle's own life, the film depicts a time of war through the eyes of innocents. (Many other films have tried to follow in Malle's footsteps but very few have succeeded.)

I think what makes Au revoir les enfants an interesting watch (the semi-autobiographical elements aside) is that the events of World War II are treated as simply a minor discussion starter. The film is mostly revolving around the personal dilemmas facing Julien (Gaspard Manesse): doing well in his classes, the occasional schoolboy crush, things of that nature.

What's also surprising about Au revoir les enfants is how bleak it is. But it's not the story that's bleak. It's how the film was shot. Renato Berta's cinematography shies away from vibrant colors and it always seems to be a cloudy day. It's a small detail that I simply love.

Au revoir les enfants is quiet and heartbreaking in every frame, especially in the cinematic beauty that is that final shot. Malle usually employs a sort of detached sympathy with some of his films (The Fire Within springs to mind), and Au revoir les enfants is an excellent exception. It's as fantastic as it is sorrowful.

My Rating: *****

The Lovers

It's made clear early on in Louis Malle's The Lovers that Jeanne Tournier (Jeanne Moreau) has a busy personal life. Not only is she married with a child, she also has a lover. However, it's also made clear she has grown bored with them. They simply don't thrill her anymore.

It's hard to say if she's actually bored with them or that the initial spark has long fizzled out. (Malle doesn't specify at any point.) All that's confirmed is that Jeanne wants some excitement in her dull life.

Enter Bernard Dubois-Lambert (Jean-Marc Bory), a man who helps Jeanne one fateful day. Their initial meeting is mutual at best. But time wears on (just mere hours), and possible feelings develop.

This is where it gets interesting. Malle doesn't condemn Jeanne for her promiscuous behavior nor does he glorify it. He merely depicts her as a woman who wants attention from a man, physically or emotionally. And Moreau makes her come to life. Think of Jeanne as a femme fatale minus the lethal nature amid her seductive attitude.

It slows down during the second act, but The Lovers is an interesting film. The controversy it received back in 1958 seems tame now but you can clearly see how it got critics in an uproar. It may not be my favorite Malle film (that goes to Atlantic City), but it did convince me to see more of his work.

My Rating: ****1/2

The Fire Within

You know how sometimes you develop a desire to see a film after reading someone's glowing praises for it? Most of the time it's for a film not many have seen. (It's often for a foreign film too.)

Now Alex has perhaps the best taste in film among the many bloggers I've gotten acquainted with. Thanks to another one of his fantastic lists, he introduced me to a film he speaks highly of: Louis Malle's The Fire Within. Did I have the same feelings for it as Alex? Just read on.

The film chronicles a day in the life of Alain Leroy (Maurice Ronet), a writer and recovering alcoholic. By this point, he's coming along well with his treatment, but outside life tempts him. The result is something worthy of a Bergman film.

Alain isn't proud of his past drunkenness. In one scene, someone tells an anecdote of a drunk's incident. Someone else points an accusatory finger at Alain, identifying the drunk in question. The camera cuts to Alain, his eyes now sunken into his head. That lone scene shows how much of his former vice has stayed with him.

 The Fire Within is just fascinating to watch. Rather than it being about an addict slipping deeper into their problem, it's about someone on the path to recovery that takes a wrong turn. Along with Ronet's performance and Malle's direction, there's some marvelous cinematography from Ghislain Cloquet. This is also one of the most neglected foreign films I've seen, so I encourage you all to check it out. You won't regret it.

My Rating: *****

Atlantic City

Usually when a famous actor gets older, their choice in parts gets limited considerably. They're typically parts that almost ridicule the actor's status in Hollywood, though there are a few exceptions.

Burt Lancaster in Atlantic City is one of those exceptions. He gives one of his best performances as aging gangster Lou Pascal. He has witnessed the many changes in Atlantic City. It's clear in his behavior that he himself has gone through many changes. But one look into his eyes and you see there's still some liveliness within him.

Enter Sally Matthews (Susan Sarandon), a waitress and Lou's neighbor. She gives him the last bit of youth within him. She also brings out more in Lou. Take note of his behavior towards the end. He becomes more carefree than careful with his actions.

Atlantic City is one of the best movies of the 1980's. The performances are so nuanced, they just work flawlessly. It's not one to be missed.

My Rating: *****