À nous la liberté

Clair's À nous la liberté is a wonderful satire of modern mass production, magnificently shot, directed, decently acted and with impressive sets. The satirical content is stressed but not too on-your-face. The main reaction to the film is delight.

Some of the sequences were an obvious inspiration to Chaplin, whose masterpiece Modern Times resembles this film quite a lot both in the way it looks as well as thematically.

The picture and sound quality, at least in the version shown on Finnish TV, are superb which is surprising considering the age of the film.

The music is good and well used, except the songs which are slightly irritating. Still, this is a great and pleasing film with a very amusing scene in the end, taking place at the opening of a new factory.

This is a little gem of a film that doesn't date nearly as much as you would think, considering it come from the early thirties. The masterful hand of director Rene Clair overcomes an insubstantial plot and imbues the film with some fantastic visuals, humorous satire and some good clean knockabout fun. Two prisoners escape from custody and one reaches the top of the ladder while the other clings onto the bottom rung. Clair makes his feeling about capitalism clear by showing how the worker under the capitalist is as much a prisoner as the people locked in the jail. But any political overtones are not so much that they interrupt with the comic narrative and the film merrily continues with it's chases, bottom-kicking and all manner of good-natured silliness. Highly recommended.

This early talkie is an unexpected joy to watch and an artful piece of transitional cinema. It's difficult to believe that Charlie Chaplin claimed he never saw René Clair's fanciful 1931 musical comedy since it predates many of the same leitmotifs that came up in "Modern Times" five years later, including pointed jabs at corporate greed interlaced with Keystone Cops-style slapstick. In fact, Clair seems completely inspired by Chaplin in the way he carefully orchestrates the chase scenes and the robotic assembly line in this film, so much so that Chaplin borrowed back the visual cues in "Modern Times".

Clair sets up his story as an elaborate parable centered on two convicts, best friends Émile and Louis, who make toy horses in the prison assembly line. In a long-planned attempt to escape, Émile escapes thanks to a generous leg-up from Louis, who is caught and returned back to their cell. Years pass, and Émile becomes a successful industrialist in charge of a phonograph manufacturing business. Meanwhile, Louis serves out his term and upon release, ironically finds himself working in the assembly line of Émile's factory. After some hesitation, Louis and Émile reunite and join forces with a rapid-fire series of chaotic complications leading the two friends to realize that a life away from work may be their true fate.

The film master does not belabor his sociopolitical statements about materialism, but it is intriguing in hindsight to appreciate the film's prescience in showing France disconnected from the encroaching Nazi menace. Moreover, the film boasts startling visual elements thanks to Lazare Meerson's unmistakably Expressionist art direction. Henri Marchand and Raymond Cordy make a fine comedy team as Émile and Louis, though what really shines is the timeless spirit that Clair imbues this film. The 2002 Criterion Collection DVD includes two deleted scenes, a brief 1998 interview with Clair's widow, and a twenty-minute short, "Entr'acte", that Clair made with French artists Francis Picabia and Erik Satie. Speaking of Chaplin, in an audio essay, film historian David Robinson describes the plagiarism suit that the film's producers brought against Charlie Chaplin when "Modern Times" was released.

I profess-- I never heard of this movie nor this director till I watched it tonight. As pointed out, the film has a socialist message-- mainly a scaffolding to hang some very clever physical humor on, though it manages to fit in a few astute (likewise hysterical) observations about modern industrial society. The male leads are absolutely charming and have great chemistry. The style of the film is something in itself. The soundtrack (one of the first original ones to be used in a film) is intertwined with the action on screen, and occasionally the actors sing along with it almost as if this were a musical...but not quite. There are moments of pantomime infused with talking scenes, almost as if the director was trying figure out how to work his style for making silent films into talkies. In total, it's a bit odd-- but it works! And it's unique. And far from dated-- it gave me quite a few belly-laughs.

Emile and Louis are two jailed friends who dream of freedom and plan to escape. Louis is successful and becomes a phonograph factory tycoon, after Emile finally breaks out he seeks work at Louis' factory. Tho initially the harshness of industrialisation keeps them poles apart, they both come to realise that friendship and being honest to oneself is far more rewarding than love or any sort of financial gain.

À nous la liberté {orginaly titled Liberté chérie} is a truly biting musical satire written and directed by the considerably talented René Clair. Filmed without a script, with Clair giving his actors free licence to improvise, the picture focuses on the dehumanisation of workers at an industrial plant. Shifting as it does from prison to this monstrosity place of work, the viewer is forced to wonder just exactly which is the prison of the picture? For workers trundle in to work, punching in to a clock and sitting at a conveyor belt for hours on end, they are merely robots for this corporate machine, life is indeed desperately dull.

Clair pulls no punches in portraying everyone who doesn't work on the shop floor as greedy capitalist schemers, one sequence literally see the elite grasping for Francs strewn by the mounting storm. This wind of change also releases Emile and Louis from their respective constraints, and it's thru this change that we the viewer are rewarded with a truly uplifting ending that closes the film magnificently. The picture was a flop on its initial release, managing to offend parties from various corners of the globe, but now in this day and age the film has come to be hailed as something of a French masterpiece, coming some five years before Charlie Chaplin's Modern Times {Clair's camp even wanted to sue Chaplin for plagiarism, but Clair actually took it as a compliment}, this clearly is the template movie for industrial indictment. At times devilishly funny, at others poignantly sad, À nous la liberté is a cinematic gem that all serious film lovers should digest at least once. 9/10