A Nós a Liberdade

Rene Clair's first film was the bizarre surrealist short ENTR'ACTE, which had music (and a cameo) by composer Erik Satie. Also showing up briefly in that film were two of Satie's young protégés, Darius Milhaud and George Auric.

When Clair made the talkie A NOUS LA LIBERTE, he hired Auric to do a completely original score, which was not common at the time, and a lot of the scenes were shot to recordings of the Auric music. This was only Auric's 2nd film (after Cocteau's BLOOD OF A POET) but he already shows the mastery that would lead to well over a hundred further scores.

Clair and his Oscar-nominated designer fill the screen with wonderful art deco visuals, and there's a sympathetic cast cemented by the two central characters, Louis and Emile. There are some wonderful physical comedy bits in the film (mostly in the factory), as well as the social satire which I didn't find particularly heavy-handed (although that adjective has been used by others). The fine balance of music, visuals, and comedy makes this a winner.

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.

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.

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.

Sobering indeed that this innovative and quite unique early French "talkie" has garnered but four reviews. This is akin to the Cistine Chapel going six months without visitors!

As any student of early film would have discovered, the premise of "A Nous La Liberte" was undoubtedly "lifted" and used by Chaplin in his revered MODERN TIMES. Others have mentioned this aspect.

The film is a satirical comment, almost a control experiment from one viewpoint, focusing on the ideology of big business, and in regard particularly to newly gestated industrial technology, just how the individual is viewed as little more than a means to an end. A resource to be used and no more. Clair poses the question, is the worker..the LITTLE man - any more or less a free-thinking and needful entity than the embittered prisoner serving out his time?

The film follows the fortunes of two ex-cons. One makes it to the top of the industrialised ant-hill, the other makes it to the nearest sheltered alleyway or park bench. Whilst Clair experiments freely here with music and song, the Metropolis-like buildings lend a sombre note to the proceedings at hand.

Stylistically dated perhaps now, and the humor betrays its thirties origins, nevertheless at its core the observations made still hold true. This remains a critically important cinematic benchmark not just in terms of early French cinema but also in terms of a director's extraordinary vision so many years ago.