After our run of later period, more biographical Louis Malle films a few weeks ago we swing back with his first feature length, which is a different sort of master work than Au Revoir les Enfants but still sticks with me. Elevator to the Gallows, or Lift to the Scaffold as the British (and Pat) demand to call it, is a noir murder with a bit of Bunuelian stream of consciousness thrown in and a level of suspense fit for Hitchcock if not Clouzot. And all that name-dropping aside, it’s also just a really good film.
We cover the final film in the 3 Films by Louis Malle boxset this week with his 1987 magnum opus Au revoir les enfants. Before we recorded Pat and I established a rule that if at any point we start openly weeping I’d just edit that out. I think I got most of it.
Au revoir les enfants provides much more context to the previous two films autobiographical natures, to the point where I think we can say we have a deeper understanding of both Lacombe, Lucien and Murmur of the Heart having watched it. But more importantly than that, this is a hard-hitting, masterpiece of a film about selfless compassion in the face of extreme horror, and the personal toll that takes on you.
Speaking of which, the film itself will take a toll on you.
We move from a Louis Malle film we did not at all understand last week into one that we seem to get on a deeper level than a lot of critics and, frankly, that concerns me. Lacombe, Lucien is the tale of a lost young man searching for meaning and belonging who finds himself falling in with Nazi collaborators. The critics not understanding certain character motivations is fine, but I think it says more about the critics than Malle — and maybe that same sentence could be aimed at this very podcast last week.
Anyway. Recognize yourself in Lacombe, because nearly all of us, at times, align with the powers of oppressive violence, and we need to see that in ourselves instead of writing it off as the moral failing of others. Be better. Do better.
We kick off a boxset of films by Louis Malle that are variously autobiographical, and we may have the quickest turnaround from “I hate this film” to “this later film has recontextualized an earlier one and now I maybe like that one more” in our entire run of Lost in Criterion.
That is to say, neither Pat nor I really enjoyed Murmur of the Heart (1971) when we first discussed it for this episode, but by the time we finish the boxset in 2 weeks we have a different understanding of this first film. While Pat has long maintained that he refuses to learn anything from this project, the self-evident truth is that the more movies we watch the better base of understanding we have in watching other movies. Often that means that we can look back on older episodes and know that we were certainly wrong in the discussion we had about them.
But even after all that learning, I think the incest in this movie ruins it for me. Not because it’s taboo, but because it doesn’t make sense.