Based on the novel Will O’ the Wisp by Pierre Drieu La Rochelle, Le feu follet (The Fire Within) is the story of a recovering yet depressed alcoholic goes on a final journey to meet friends for the last time as he intends to kill himself. Written for the screen and directed by Louis Malle, the film is an exploration into a man’s final days as he tries to find reasons to live. Starring Maurice Ronet, Jeanne Moreau, and Alexandra Stewart. Le feu follet is a riveting yet haunting film from Louis Malle.
The film revolves on the day of the life of a recovering alcoholic who is about to leave a clinic as he leaves for Paris to see if he can find any reason to live as he is succumbing to depression and a need to kill himself. It’s a film that explores a man trying to find answers as he is wondering if he can return to the real world as he’s been spending months at a clinic in Versailles as his leave from the clinic becomes a test to see if he can return to the real world. What happens is that he not only learns that the lives of some of his friends have changed but some of them has disappeared. Some of his friends have changed their lives for the betters while others haven’t as it plays into this man’s growing sense of despair in the course of an entire day. Louis Malle’s screenplay doesn’t really go for any plot schematics other than explore what Alain Leroy (Maurice Ronet) is going through in the course of the day. Even as it features bits of voiceover narration to play into Alain’s state of mind.
Malle’s direction is very engaging for the way he aims to capture something that does feel real in the course of what might be his last day on Earth. Malle aims for something that is in line with the concept of cinema verite as he does shoot largely in locations in Paris and Versailles as there’s some hand-held cameras that shoot in these locations where there’s a lot of medium shots and close-ups. Most notably in the latter as Malle captures all of the anguish and despair in Leroy’s face as it plays into the sense of unknown but also fear as he is unsure about his place in the world. Even as it becomes more evident a dinner party late in the film where he stands out for the wrong reasons which only has him revealing that even though he is a wreck of a man. At least he’s being honest about it and has nothing else to lose. Overall, Malle creates an evocative yet mesmerizing film about a man going into an existential journey on what might be the last day of his life.
Cinematographer Ghislain Cloquet does brilliant work with the film‘s black-and-white photography from the look of the daytime interior/exterior settings to some very enchanting scenes set at night including the dinner party. Editor Suzanne Baron does excellent work with the editing as it is stylish to play into Leroy‘s troubled state of mind as it features some jump-cuts, dissolves, and fade-outs to play into the journey he would take. Production designer Bernard Evein does nice work with the set pieces from the look of the room that Leroy would stay at the clinic as well as the house party he would attend late in the film. Costume designer Gitt Magrini does terrific work with the costumes from the stylish clothes the women wear to the casual look of the men. The sound work of Guy Villette is superb for the sparse sounds at the party as well as the scenes set in Paris. The film’s music consists of pieces by Erik Satie as it is a crucial element to the film that plays into melancholic state of mind that Leroy would endure.
The film’s amazing cast includes appearances from Jean-Paul Moulinot as Leroy’s doctor, Rene Dupuy as a bartender Leroy knew in his apartment, Lena Skerla as a mistress early in the film named Lydia, Bernard Noel as a friend of Leroy in Dubourg who has become a family man, Ursula Kubler as Dubourg’s wife, Jacques Sereys as a rich friend in Cyrille, Alexandra Stewart as a socialite in Solange, Tony Taffin as a snotty and bigoted rich man in Brancion, and Jeanne Moreau in a wonderful performance as an old flame of Leroy who has become a drug addict. Finally, there’s Maurice Ronet in an incredible performance as Alain Leroy as a man who feels lost in his despair as he is unsure about his place in the world as he tries to figure out if he has anything else to offer as he already lost his wife, his family, and everything else as it’s a very entrancing performance from Ronet.
Le feu follet is a remarkable film from Louis Malle that features a tremendous performance from Maurice Ronet. The film isn’t just an intriguing study of depression and despair but also a look into the life of a man who could be spending his last day on Earth. In the end, Le feu follet is a sensational film from Louis Malle.
Louis Malle Films: (The Silent World) - Elevator to the Gallows - The Lovers (1958 film) - Zazie dans le metro - (A Very Private Affair) - (Vive Le Tour) - (Bons baisers de Bangkok) - (Viva Maria!) - (The Thief of Paris) - Spirits of the Dead-William Wilson - (Phantom India) - (Calcutta) - Murmur of the Heart - (Humain, Trop Humain) - Lacombe, Lucien - Place de la Republique - Black Moon - (Close Up (1976 short) - (Dominique Sanda ou Le reve eveille) - Pretty Baby - Atlantic City (1980 film) - (My Dinner with Andre) - Crackers - God’s Country (1985 film) - (Alamo Bay) - (And the Pursuit of Happiness) - Au Revoir Les Enfants - (May Fools) - (Damage (1992 film)) - (Vanya on 42nd Street)
© thevoid99 2015
Based on the novel by Noel Calef, Ascenseur pour l’echafaud (Elevator to the Gallows) is the story of criminal lovers who commit the perfect crime until one of them is stuck inside an elevator. Directed by Louis Malle and screenplay by Malle and Roger Nimier, the film is an exploration into the world of crime from the perspective of two lovers as it is considered one of the early gems of the French New Wave. Starring Jeanne Moreau, Maurice Ronet, Georges Poujouly, Yori Bertin, Jean Wall, Ivan Petrovich, Felix Marten, and Lino Ventura. Ascenseur pour l’echafaud is a riveting and enjoyable film from Louis Malle.
Set during a 24-hour period on a weekend in Paris, the film revolves around two lovers who commit the perfect crime as everything goes smoothly until the man forgets something where he finds himself stuck in an elevator where the power had gone off. The film isn’t just about the crime as it happens but what happens afterwards where this man is stuck inside the elevator while his lover is waiting around as she suspects that he probably didn’t do it or something else had happened. One of which involves his car being stolen by a young man and his girlfriend who also create trouble as it plays into the idea of lovers committing crime and the chaos that ensues. The film’s screenplay plays into these different storylines where it begins with a phone conversation between Florence Carala (Jeanne Moreau) and her lover Julien Tavernier (Maurice Ronet) about the plan to kill Florence’s husband Simon (Jean Wall) who is also Julien’s boss.
Everything does go well in all of its details as Tavernier was once a member of the foreign legion yet a simple mistake in leaving out a piece of evidence would force him to try and rectify it only for everything to go wrong. Since he is stuck inside the elevator, he is forced to realized that he left his car running prompting Louis (Georges Poujouly) to steal with a flower shop girl named Veronique (Yori Bertin) joining him as they would have their own adventure. Throughout the entirety of the film, Florence waits for Tavernier as she ponders about his whereabouts as she also suspects that he is cheating on her with Veronique as she saw Veronique in his car. The storyline involving Louis and Veronique would have them go on this joyride until they encounter this German couple with a Mercedes as it starts off well and then things go wrong. It leads into this third act into not just about the world of crime but also its impact and implications where four people find themselves in the wrong place and at the wrong time.
Louis Malle’s direction is very mesmerizing for the way he presents the crime as it takes place as there’s no need for any exposition or back-story about Florence and Tavernier as he just starts off with the crime itself. The direction is quite stylish in not just Malle’s approach to camera angles but also in how he maintains an intimacy in the scenes where Tavernier is stuck inside the elevator as he tries to find a way to get out. There is an element of claustrophobia in those scenes while there’s a moment where Tavernier tries to get out of the elevator from its bottom hatch to see how far up he’s in as it is one of the film’s intense moments.
Malle’s usage of close-ups are very effective as it plays into Florence’s own journey as she walks around Paris wondering where is Tavernier as it features some voiceover narration as she expresses her own thoughts. The close-ups and medium shots also play into Louis and Veronique’s own adventure as it is quite comical at times but also very somber as it express their own sense of uncertainty and aimlessness about their future. The film’s third act not only plays into the aftermath of these events but also this race into any chance of hope for any of these characters as it would follow with a really great ending. Overall, Malle creates a very smart and captivating film about a perfect crime gone wrong.
Cinematographer Henri Dacae does brilliant work with the film‘s black-and-white photography to create moods with some of the scenes inside the elevator as well as the building plus creating some unique lighting schemes for the exterior scenes in Paris for day and night. Editor Leonide Azar does amazing work with the editing with its stylish approach to rhythmic cuts and dissolves as it plays into the suspense and drama. Art directors Jean Mandaroux and Rino Mondellini do excellent work with the look of the elevator and its shaft as well as the motel that Louis and Veronique would stay in. The sound work of Raymond Gauguier is terrific as it‘s very sparse while not playing to conventions in terms of some of the suspenseful moments in the film. The film’s music by Miles Davis is fantastic as it’s essentially a jazz-based score with some thrilling trumpet work from Davis as well as some upbeat pieces and some mid-tempo cuts that play into Florence’s own journey.
The film’s cast include small performances from Jean-Claude Brialy as a chess player at the motel, Micheline Bona as a secretary that Tavernier works with, Sylviane Aisenstein as a woman at a bar Florence meets, Jean Wall as Florence’s husband, Ivan Petrovich and Elga Andersen as the German couple Louis and Veronique meet, and Lino Ventura as a police inspector who tries to solve the case that happened in the film’s third act. Yori Bertin is wonderful as Veronique as a young woman who has a crush of sorts on Tavernier as she tries to get Louis to stop doing things while having some fun with the Germans as she copes with the actions later in the film.
Georges Poujouly is excellent as the sullen Louis as a young man trying to cope with his own growing pains as well as his uncertainty in his future as he turns to crime. Maurice Ronet is superb as Julien Tavernier as a former foreign legion soldier who is asked by Florence to kill her husband as he copes with not just the severity of his situation but also in its aftermath. Finally, there’s Jeanne Moreau in a remarkable performance as Florence Carala as this woman who asks her lover to kill her husband as she ponders if he had done the job as she wanders around Paris aimlessly as it’s a very radiant and entrancing performance from the actress.
Ascenseur pour l’echafaud is a phenomenal film from Louis Malle that features a true breakthrough performance from Jeanne Moreau. The film isn’t just one of the finest debut features ever made by a director but also one of the key films of the French New Wave in its approach to style as well as telling a story in the most unconventional fashion. In the end, Ascenseur pour l’echafaud is a sensational film from Louis Malle.
Louis Malle Films: (The Silent World) - The Lovers (1958 film) - Zazie dans le metro - (A Very Private Affair) - (Vive Le Tour) - The Fire Within - (Bons baisers de Bangkok) - (Viva Maria!) - (The Thief of Paris) - Spirits of the Dead-William Wilson - (Phantom India) - (Calcutta) - Murmur of the Heart - (Humain, Trop Humain) - Lacombe, Lucien - Place de la Republique - Black Moon - (Close Up (1976 short) - (Dominique Sanda ou Le reve eveille) - Pretty Baby - Atlantic City (1980 film) - (My Dinner with Andre) - Crackers - God’s Country (1985 film) - (Alamo Bay) - (And the Pursuit of Happiness) - Au Revoir Les Enfants - (May Fools) - (Damage (1992 film)) - (Vanya on 42nd Street)
© thevoid99 2015
Based on the novel The Talented Mr. Ripley by Patricia Highsmith, Plein Soilel (Purple Noon) is the story of a young man who is trying to get his rich friend back to America only for things to go wrong. Directed by Rene Clement and screenplay by Clement and Paul Gegauff, the film is an exploration into a man trying to be part of a world he has no idea about as things eventually go wrong when he becomes jealous and angry. Starring Alain Delon, Maurice Ronet, and Marie Laforet. Plein Soilel is an intriguing yet exhilarating film from Rene Clement.
The film revolves around a young man who is being paid $5000 to bring his rich friend back to America where the task goes wrong in an act of jealousy. It plays into this young man named Tom Ripley (Alain Delon) who is constantly around the son of a rich man who is supposed to return home and live a life of responsibility. Instead, Philippe Greenleaf (Maurice Ronet) just wants to have fun though he treats his girlfriend Marge (Marie Laforet) quite poorly at times where a boat trip with Ripley becomes disastrous due to Philippe’s selfishness as it would set the stage for everything that Ripley would do. The film’s screenplay has a unique structure where the first half is about Ripley’s friendship with Greenleaf as he is trying to get him home. Yet, things become complicated where the disastrous boat trip has Ripley be pushed into a lifeboat and stranded for some time where he gets sunburned only for Marge to be the one that is really concerned as it’s one of many reasons why she leaves the boat trip.
Marge is an interesting character as she is someone who is repulsed by Greenleaf’s treatment of her as well as sleeping around with other women yet she is in love with him as she would wonder about his whereabouts after the boat trip. The film’s second half plays more into the events after the boat trip where Ripley becomes the story as he would roam around Italy as he would pretend to be Greenleaf. It plays into the world of identity as well as an ambiguity into Ripley’s motivations as he would do things to get ahead in the world but also raise suspicion over his actions.
Rene Clement’s direction is mesmerizing as Clement aims for something that feels intimate but also a richness to play into the beauty of the various locations in Italy. Much of it involves Clement’s approach to medium shots and wide shots as the cities are major characters in the film as well as the Mediterranean Sea as the scenes on the boat feature some unique camera angles and compositions that are rich. Clement’s usage of hand-held cameras are also very evident as it plays into Ripley’s own adventure as the close-ups are also interesting as well as the compositions. It adds to the sense of ambiguity into what Ripley is doing as well as some are playing into his façade or know that he is lying. Even as it plays into the idea of whether he would get away with it right to the end. Overall, Clement creates a very thrilling and very intelligent film about a young man who forges a new identity in the wake of a bad boat trip.
Cinematographer Henri Dacae does incredible work with the film‘s rich and colorful cinematography as it pays great attention to detail into the look of the Mediterranean Sea as well as creating some unique lighting schemes and such for some of the interior settings in the film. Editor Francoise Javet does excellent work with the editing as it has an air of style with its usage of jump-cuts and dissolves to play into Ripley‘s own transformation and encounters with the world of the rich. Production designer Paul Bertrand does amazing work with the look of the apartments and hotel rooms that Ripley would stay in as it plays into his own evolution as a character as well as the boat where things would go from carefree to sinister into what Ripley would do.
Costume designer Bella Clement does brilliant work with costumes from the posh and stylish clothes that Greenleaf wears throughout the film as well as the dresses that Marge would wear as it has this air of style and vibrant colors that are fun to watch. The sound work of Jean-Claude Marchetti is terrific for some of the sparse sound work that goes on in the sea as well as the raucous moments in the Italian cities including Rome. The film’s music by Nino Rota is fantastic for its lush, orchestral-based score along with string-based pieces and accordions that play into the world of Italy as it’s one of Rota’s more overlooked scores.
The film’s phenomenal cast includes some notable small roles from Elvire Popesco as a ballet patron Greenleaf and Ripley socialize with, Nicolas Petrov as the ballet Boris, Frank Latimore as a drunk named O’Brien, Ave Ninchi as a woman Greenleaf flirts with in Rome, Barbel Fanger as Greenleaf’s father who appears late in the film, Erno Crisa as Inspector Riccordi, and Romy Schneider as a companion of one of Greenleaf’s friends in Freddy Miles. Bill Kearns is superb as Greenleaf’s friend Freddy Miles as a man who likes to be a playboy and do things that rich young kids do while he later becomes suspicious about Ripley over Greenleaf’s whereabouts.
Marie Laforet is amazing as Marge as this woman who is torn for her hatred of Greenleaf’s playboy lifestyle as well as being in love with him as she becomes close with Ripley as the two cope with Greenleaf’s disappearance. Maurice Ronet is excellent as Philippe Greenleaf as this young playboy who likes to spend his money while avoid responsibility as he mocks Marge’s work as a writer as he is also quite cruel to Ripley. Finally, there’s Alain Delon in a tremendous performance as Tom Ripley as this young man who is asked to retrieve his friend back to America only for things to go wrong as he starts to forge a new identity as it’s a very charming and exquisite performance from Delon.
Plein Soilel is a remarkable film from Rene Clement that features a truly glorious performance from Alain Delon. It’s a film that is presented with such style as well as captivating ideas on identity and what a man is willing to do to play into another man’s lifestyle. In the end, Plein Soilel is a ravishing and rapturous film from Rene Clement.
Rene Clement Films: (The Battle of the Rails) - (Mr. Orchid) - (The Damned (1947 film)) - (The Walls of Malapaga) - (La Chateau de verre) - (Forbidden Games) - (Knave of Hearts) - (Gervaise) - (This Angry Age) - (The Joy of Living) - (The Day and the Hour) - (Joy House) - (Is Paris Burning?) - (Rider on the Rain) - (The Deadly Trap) - (…and Hope to Die) - (Wanted: Babysitter)
Related: (The Talented Mr. Ripley)
© thevoid99 2015
