Elevator to the Gallows 1958 123movies

Watch: Ascenseur pour l’échafaud 1958 123movies, Full Movie Online – Florence Carala and her lover, Julien Tavernier, want to murder her husband – Julien’s boss – by faking his suicide. But after Julien’s killed him, and had left, he remembers he’s forgotten the rope outside the window which could implicate him, and he returns to the building to remove it.
Plot: A self-assured businessman murders his employer, the husband of his mistress, which unintentionally provokes an ill-fated chain of events.
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Ratings:

	7.9/10 Votes: 26,037
	93% | RottenTomatoes
	94/100 | MetaCritic
	N/A Votes: 461 Popularity: 7.595 | TMDB

Reviews:

Amazingly Good
Elevator to the Gallows is a great film and even better, has a short running time! The acting is great in every instance, the plot is original, and the direction is probably among the best I’ve ever seen. I loved how the plot had a lot of twists but there weren’t so many that you were confused as to what was going on. Although I won’t reveal the ending, I thought it was great and made me smile. However, you have to like this type of movie to see it, as it is kind of complicated and there isn’t a ton of action. This film shows how the perfect murder can be only planned so well; you can never plan what could happen. If you don’t get bored too easily, stick with this gem and I’m sure you’ll love it.

A Film Noir Masterwork – Breathtaking to the Eye and the Ear
“Elevator to the Gallows (Ascenseur pour l’échafaud)” is a master work, so it’s startling to learn that it was Louis Malle’s first feature. It’s a mother lode textbook of how-to for noir genre filmmakers as he creates his own style from what he’s learned from other masters.

Malle pays tribute to the tense murder style of Hitchcock with Billy Wilder’s cynicism of selfishness a la “Double Indemnity” plus Graham Greene-like, post-war politics from “The Third Man”– and arms and oil dealers with military pasts in the Middle East are not outdated let alone adulterous lovers and rebellious teenagers.

The film drips with sex and violence without actually showing either — sensuous Jeanne Moreau walking through a long, rainy Paris night is enough to incite both.

The black and white cinematography by Henri Decaë is breathtakingly beautiful in this newly struck 35 mm print, from smokey cafés with ever watchful eyes like ours to the titular, ironic alibi’s long shafts (which surely must have inspired a key, far paler scene in “Speed”) to highway lights, to a spare interrogation box, but particularly in the street scenes. The coincidences and clues are built up, step by step, visually, including the final damning evidence.

Miles Davis’s improvisations gloriously and agitatedly burst forth as if pouring from the cafés and radios, but the bulk of the film is startlingly silent, except for ambient sounds like rain that adds to the tension in the plot.

The characters are archetypes — the steely ex-Legonnaire, the James Dean and Natalie Wood imitators, the preening prosecutor — that fit together in a marvelous puzzle. But all are cool besides Moreau’s fire, as she dominates the look of the film, just wandering around Paris.

There is some dialog that doesn’t quite make sense at the end, but, heck, neither does “The Big Sleep” and this is at least in that league, if not higher in the pantheon.

Other Information:

Original Language fr
Runtime 1 hr 31 min (91 min) (copyright length)
Budget 0
Revenue 263404
Status Released
Rated Not Rated
Genre Crime, Drama, Thriller
Director Louis Malle
Writer Roger Nimier, Louis Malle, Noël Calef
Actors Jeanne Moreau, Maurice Ronet, Georges Poujouly
Country France
Awards 1 win
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono (Western Electric Sound System)
Aspect Ratio 1.66 : 1
Camera N/A
Laboratory Laboratoires Franay Tirages Cinematographiques (LTC), Paris, France, Éclair à Epinay, France
Film Length 2,500 m (Finland)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm, Digital (Digital Cinema Package DCP)