(Jeanne Moreau e Miles Davis durante as rodagens)
Roger Ebert, sobre Fim-de-Semana no Ascensor (Louis Malle, 1958)...
Moreau plays these scenes not with frantic anxiety, but with a kind of masochistic despair, not really expecting to find Julien. It rains, and she wanders drenched in the night. Her face is often illuminated only by the lights of the cafes and shops that she passes; at a time when actresses were lit and photographed with care, these scenes had a shock value, and influenced many films to come. We see that Florence is a little mad. An improvised jazz score by Miles Davis seems to belong to the night as much as she does.
(...)
These 1950s French noirs abandon the formality of traditional crime films, the almost ritualistic obedience to formula, and show crazy stuff happening to people who seem to be making up their lives as they go along. There is an irony that Julien, trapped in the elevator, has a perfect alibi for the murders he is suspected of, but seems inescapably implicated with the one he might have gotten away with.
