Lift to the Scaffold/Elevator to the Gallows
Directed by: Louis Malle
Music: Miles Davis
Starring: Jeanne Moreau, Maurice Ronet,
Georges Poujuly, Yori Bertin
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Last year, during
the Indian monsoons, I’d written a post on the Rain in Ten Moods – focusing on
scenes from Hindi films. You see, things happen
in the rains in films. In the comments, my husband had posted a scene from a
French film, where the lead protagonist is wandering around the streets of
Paris on a rainy night.
I’d not heard of the actress or the film, so, aghast at my ignorance, my husband decided he had
to remedy matters. Of course, it took him a year to obtain the DVD and a few
days to convince me to watch it.
The film opens with a telephone conversation. ‘Je t’aime’ (‘I love you’), she (Jeanne Moreau as Florence Carala) murmurs, over and over – ‘Je
t’aime’.
He
(Maurice Ronet as Julien Tavernier) needs to hear that. ‘Je t’aime’ he whispers back; he’s in office and can’t bear the
desperation in her voice. She doesn’t seem to want him to hang up the
telephone, and exhorts him to ‘do it’ if he wants to be with her.
Back in
his office, Julien methodically sets his papers in order, and asks the
receptionist to stay back because he needs to finish up some work. She agrees –
she’s quite often the last person to leave anyway. Julien’s next steps are
puzzling – he locks the door to his office, opens the window and makes his way up to the floor above. He’s
remarkably agile.
Unusually,
he’s also carrying a file. When he enters the office, it is clear that he’s
known to the man behind the desk. As that man peruses the files, the intruder
coolly takes out a gun in a gloved hand and shoots him in the temple.
Then,
methodically, he presses the dead man’s fingers around the butt of the gun,
arranges the body to look like a suicide and, going out the door – which he takes care to bolt from the
inside behind him (a neat trick) – returns to his office the same way he came –
via the rope.
Just as he shimmies down the rope, the telephone in his office rings, and quickly,
he enters the room just as the ringing stops. He then puts on his jacket, and taking his file (which he has carefully brought back with him), goes out the
door, signs off with the receptionist, and with her and the security guard in
tow, leaves the building. A perfect crime, a perfect alibi.
Downstairs,
Véronique (Yori Bertin), the girl who works in the flower
shop is shooting the breeze with her boyfriend, Louis (Georges Poujoly); she
admires Tavernier who often comes to the shop to buy flowers for Florence. He’s
handsome, sophisticated, and having been a paratrooper in the Foreign Legion, there’s that
edge of danger that she attributes to him. Louis is not enamoured by his
girlfriend’s crush on Tavernier.
He’s a small-time crook who thinks of himself
as dangerous, but Véronique informs him that Tavernier has been in the
Indo-China and Algiers during the wars. And look, that’s his car! The Chevrolet
convertible is more to Louis’s liking but as he’s eyeing it, Tavernier exits
the building.
Tavernier gets into
the car and starts the engine; as he does so, he idly glances up.
How could he have
been so stupid?!
Leaving the engine
idling, he quickly re-enters the building, and making sure the security guard
doesn’t see him, enters the elevator. He must get rid of the evidence before
anyone else spots it. As the elevator ascends, the security guard shuts off the
power in the building before locking up for the weekend. Tavernier is stuck –
between floors.
Meanwhile, Louis,
who has been enviously been eyeing the convertible takes a chance to sit behind
the wheel. He’s keeping a lookout for Tavernier, meaning to hop out before the
man catches him. But when Véronique exhorts him to get out of the car because
Tavernier wouldn’t like it, her anxiety makes him obstinate.
Even as Véronique
gets into the car, still pleading with him to be sensible, Louis puts the car
into gear and drives away. Véronique, though still anxious, is nervously
beginning to enjoy herself. She hands Louis Tavernier’s coat and hat, and the
youth puts that on. She still retains enough sense to plead with Louis to
return the car; unfortunately for her, someone cuts them off on the highway,
which makes Louis decide to race them, just to show them – which leads to an
accident.
Louis and Véronique
are relieved when the owner of the Mercedes they crashed into turns out to be a
cheery, hail-fellow-well-met kind of person, who isn’t too bothered that his
car’s headlights have been smashed. When Horst Bencker introduces himself and
his wife, Frieda, Louis assumes Tavernier’s identity. It’s rather late in the
evening and Louis is sure that, by now, Tavernier would have reported his car
stolen. Louis has a police record for petty thievery, and so Véronique checks
them both into the hotel as ‘Mr and Mrs Julien Tavernier’.
The young couple
spend an evening with the Benckers, where Frieda takes photographs with
Tavernier’s spy camera, which Véronique has discovered in the car’s glove
compartment, along with a gun.
After which, while the men are drinking, the two
women take the film roll to a shop beside the motel for developing.
That night, having
blown his cover as a soldier in the Foreign Legion (Herr Bencker is a military
man himself and very easily punctures Louis’s story), Louis decides to steal
the Benckers’ car and escape. Unfortunately for him, Herr Bencker is a light
sleeper and the errant pair are accosted by the jovial man, who holds them up
with his cigarette holder in his pocket. Frightened at the thought of being
sent to prison, Louis picks up Tavernier’s gun and shoots both Bencker and
Frieda. Scared out of their wits, the two then drive Tavernier’s car back to
Véronique’s apartment where they hole up for the night.
Meanwhile,
Florence, eagerly waiting for news of her husband’s death, is taken aback she
sees his car go past with Véronique in the passenger seat. Feeling betrayed and
forlorn, and hoping against hope that she’s mistaken, Florence wanders the
streets of Paris looking for Julien, asking at several bars and clubs they used
to frequent whether anyone’s seen Julien that night.
This stretch of film is
accompanied by some fantastic Jazz (original score by Miles Davis), and
beautifully photographed, Florence’s face only lit by the street lights and the
lights of the shops as she passes.
Here’s Julien still
stuck in the elevator; there’s Florence spending the night increasingly lonely,
filled with deep sadness, and even arrested as a prostitute, and there’s
Véronique and Louis who, frightened silly and incapable of thinking straight,
deciding to commit suicide.
In the morning, the Benckers’ bodies are found – and
Julien is the prime suspect. So. Julien is
arrested for murders that he didn’t commit; however, his alibi puts him on the
spot for a murder he did. Can he
prove his innocence in one crime, while slipping out of the noose for another?
What about Florence, Véronique and Louis?
Ascenseur Pour L'échafaud (Lift to the Scaffold/Elevator to
the Gallows) is a stunning debut feature of a 24-year-old director who
continually experimented with his films – certainly, a noir thriller is not a
genre he returned to in his decades-long career. Malle wisely focuses on creating
an atmosphere rather than focusing on a water-tight plot. Based on a pulp-fiction
novel (by Noël Calef) of the same name, the film’s plot runs not on coincidences, but on plans
going awry and each action having a ripple effect, setting other actions in
motion. This film captures the desperation of its characters with an exquisite
simplicity, and the use of natural light to shoot the night sequences
emphasised the air of suspense. This air of desperation begins with the initial
conversation between the lovers and is a thread that continues – in different
shades, in different characters – throughout the film. Interestingly, it is the
one character who has the most to lose who is the calmest – at least until the
morning.
The
three strands of the story diverge after the murder only to converge in the
strangest of ways towards the end. The fates of Véronique and Louis
are inextricably linked to Julien’s actions, while Florence, following Louis,
seals her own fate and that of Julien’s. Life comes full circle.
Perhaps
the greatest acting came from Jeanne Moreau who, along with Maurice Ronet, had
very little dialogue in the movie. Florence’s air of fragility, her increasing
desperation tightly controlled and evident only in the way Moreau walks through
the street, her face a mask of misery. She might be the adulteress, plotting
her husband’s death with her lover, but Moreau brings a vulnerability to her
performance that gives the audience a sneaking sympathy for her devastation at
the seeming betrayal. As she plots to free Julien from one crime without
implicating him in another, one also sees the will behind that fragile façade.
I
mentioned Miles Davis’s score earlier; as haunting as that music is, during the
scenes where Florence wanders the streets, Davis ratcheted up the tension when the
young couple’s fabrications are discovered by the German tourists. Malle also
uses long silences to build up the suspense. Of particular note is a sequence
in the lift where Julien is searching for a way out, tireless searching every
square inch for a possible escape route.
What’s
interesting about the film is the thread of fatalism that underlies the whole
escapade. We are not invited to be sympathetic to them, and here, more than
with any other film I’ve seen, there’s a sense of detachment from the
characters. We, who know the sequences before the characters in the film do,
are aware that the characters are trundling onwards towards a destruction
neither they, nor we, can stop. Despite that, the ending still comes as a
surprise. If you’re in the mood for a stylish black & white French noir
film, packed with beautiful images and haunting music, then do take a look at Ascenseur Pour L'échafaud.
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