Decades before Louis Malle fell for Candice Bergen and copped an Oscar nomination for his straightforward World War II memoir "Au Revoir les Enfants," he pioneered the French New Wave via moody, black-and-white dramas in which Jeanne Moreau peeked fetchingly through Paris shop windows. The arch, haut-monde despair of "The Fire Within" was anticipated by the chilly passions of "Elevator to the Gallows." In the tartly ironic "Elevator" (restored and re-released with a new translation by Lenny Borger), Moreau and lover Maurice Ronet have conspired to murder her executive husband, only to see their perfect crime metastasize into two very messy crimes. If you've never seen this 1957 film-noir gem, you should be seduced by the cool nocturnal cinematography of Henri Decae ("The 400 Blows") and the languid improvisational sounds of Miles Davis. If you're returning for a second look, you may be surprised at the extent to which Malle pulls away from his stars and focuses on young Yori Bertin and Georges Poujouly, as a pair of causeless rebels on a fateful joyride.