World Famous Comics: Jean Börlin A Nous La Liberte - Criterion Collection
Jean Börlin A Nous La Liberte - Criterion Collection
Starring: Jean Börlin, Inge Frïss, Francis Picabia, Marcel Duchamp, Man Ray Directed By: René Clair Average Rating: Aspect Ratio: 1.33:1 Audience Rating: Unrated Binding: DVD Format: Black & White, DVD-Video, Subtitled, NTSC Label: Home Vision Entertainment Number of Items: 1 Release Date: August 20, 2002 Running Time: 83 minutes Theatrical Release Date: December 31, 1931
Description: One of the all-time great comedy classics, René Clair's À Nous la Liberté is a skillful satire of the industrial revolution and the blind quest for wealth. Deftly integrating his signature musical-comedy technique with pointed social criticism, Clair tells the story of an escaped convict who becomes a wealthy industrialist. Unfortunately his past returns to upset his carefully laid plans. Featuring lighthearted wit, tremendous visual innovation, and masterful manipulation of sound, À Nous la Liberté is both a potent indictment of mechanized modern society and an uproarious comic delight.
May have been a prequel to "The Matrix".... Confessions abound, this wasn't a favorite film of mine upon the initial viewing. As I sat down to watch it again, there was hesitancy behind my eyes, Rene Clair's work is groundbreaking in every sense of the word, but this 1931 classic just seemed to be repetitive and predictable. Finishing it a second time (and looking forward to my third), I must admit that I still didn't jump out of my chair with glee, but I did begin to see the resilient value in this classic. Clair's "A Nous La Liberte" is not perfect, it is hard to find a film from this era that is, but it survives because of the emphasis on the characters and the honesty of the society. It is a film that remains true today, as our governing economy tries to decide to take jobs overseas, to release workers and replace with machines, or just automate - automate - automate. Those last three words have become the battle cry for our corporate class. Clair saw this in 1931, and being a big fan of Charlie Chaplin, created an off-beat, quiet comedy that packs big punches in symbolism and suave camera tactics. For me, it still feels bland to watch, but it isn't difficult to watch because of how unique Clair's eye was and his continuing contributions to modern cinema.
I know, I know, I know - it sounds like I am extremely back and forth about this little film. Honestly, I am. There are elements that this critic could jump out and down about, and there are other parts that could be completely missed. Clair's story is of two prison friends who escape, only to discover that the real world isn't quite as different as the life within the bars. What makes this an interesting dynamic between the two inmates is that one goes the way of the industry, while the other pursues a life of love and nature. As Clair builds a life for the two individually, it is when they finally reconnect that the true hijinks and humor begin. The weight of their escape is constantly looming behind them; while the other is only excited about being married to a woman he merely met a few days prior builds towards the ending climax which combines both wit and humorous insight into a futuristic world that doesn't seem too "futuristic" now. Where Clair succeeds is in developing the characters of both Emile and Louis into their respective roles and ideals while building these visual sets that give us a goofy view of capitalism. He also adds more sugar to the pot by creatively using the camera, keeping our attention by sharp edits and scene transitions that work, but are extremely unexpected. Clair should be applauded for bringing this subject to the screen, but again, he - nor this film - is perfect. There are some struggles with this film such as music and time that detract from the realism of Clair's vision. His choice of music does become repetitive and annoying throughout the film. There were also moments where the music didn't seem to coexist well with the scene, demonstrating the truth that music doesn't fill all voids. Then there is time. Clair doesn't seem to care at all that to build a business like the record company of this film, years and years would have to pass. That didn't happen at all. With the simple growth of a mustache and the addition of glasses, we were only to assume that time had passed. Clair did not address age or time, perhaps because he was trying to demonstrate the universality of this film, but it would have helped with the continuity overall.
The development of the idea of man vs. machine, as well as the connectors that Clair uses to compare life in prison vs. life in the blue-collar world is strong. In fact, these are probably the most valued points of this film. Humor can be found with Clair's idea that once the machines are built, the workers only tasks are to play solitaire or go fishing, where as before they were brainwashed from youth that there is nothing more in life than work and sleep. Living in 2008, this blue-collar world created by Clair is still relevant in the world. In fact, today it is stronger as the theory of the missing middle class becomes more and more relevant. Clair also dabbles with the thought that wealth, power, and inanimate objects only bring trouble and disaster, while having merely a few coins in your pocket will keep your friends closer. It was these smaller issues that kept this film from mediocrity. There should be more, I know, but as I think about this film, there just is little I love about this film. I like this film quite a bit, but love would be too strong of a word.
Overall, Rene Clair is a genius. His films should be studied, watched, discussed, and further enjoyed. There is no question that Clair's vision was unique and obviously loved as Charlie Chaplain borrowed some of his ideas from "A Nous la Liberte" for his masterpiece "Modern Times". When watched with friends, conversation went from socialism to communism, from man to machine, from the basis for our class structure today in America. In other words, this film opens the door to discussion about our lives, even today - but I cannot stand here and say that I loved this movie. Criterion has done a phenomenal job of transferring Clair's image and sound, along with some interesting supplemental features about his life and the Chaplain controversy - but watching it a third time might prove challenging. The humor was strong, the symbolism was present, but there is just something about films from this era (the 1930s) that just feel overplayed. The music was an element I struggled with, constantly reusing the same notes over and over and misplacing them throughout the film. The second was the concept of time - Clair seemed to forget that giving someone a mustache doesn't mean they have aged. A strengthening of these small details would have created a film I could stand behind forever. Alas, I cannot with this film. I will suggest it to friends, but not stick around for the viewing. Clair, I love your eyes, but "A Nous la Liberte" is not a favorite in my book.
Grade: **** out of *****
Slapstick Gallic Satire Skewers Industrialism and Corporate Greed Between the World Wars 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.
More enjoyable then expected! Had me laughing out loud a few times. Usually not one for musicals i actually purchased this movie because i wanted the short, the extra "Entr'acte." The acting is fantastic, all though copied later by chaplin in "Modern Times" i enjoyed this movie much more then Chaplin's "Modern Times," the chemistry between Raymond Cordy and Henri Marchand is wonderful!
An Early Talkie Comedy It's obvious Clair is a Charles Chaplain fan. Movies had come out of their infancy with Chaplain as the comedy pioneer. Today critics are not as enamored with the little tramp as the critics from the Twenties and Thirties, but Rene Clair makes the most of slapstick comedy or should I say he subdues it just enough to find his own signature.
Clearly, the new talkies confused comedy directors. A Nous la Liberte, the story of two escaped French convicts, was conceived as a silent film. Then music, songs and spare dialogue were inserted tentatively. The actors, Raymond Cordy as the nuevo rich industrialist and Henri Marchard as the Chaplain like tramp speak sparingly, but they do gesture as silent film actors.
Much has been discussed about Chaplain's supposed rip off. City Lights was made five years later and Chaplain and all his production people swore they never saw the French film. Clair himself declared his admiration for Chaplain, his delight that his master would use Clair's material. So this is a bit confusing. The scenes of industrial automation, assembly line inhumanity, were indeed similar in both films. The 20th Century factory was a discussion of that time. Was it dehumanizing or did it provide a better life than the idealized farm memory of the fading 19th Century? Are these films declarations for 1930's Socialism or Fascism? Personally, knowing the politics of Chaplain at least, we can see that the intellectuals preferred Socialism.
Great musical comedy This review is for the Critetion DVD editon of the film
À nous la liberté , also known as "Liberty for Us" is another very nice film by Rene clair. The film is a satire of life working in a factory.
It is about an assembly line worker who falls in love with a secratary who works at the factory. Theare is some slapstick humor in the film and has several scenes where the characters sing. The film is considered a musical as well because of this.
The DVD has some great special features.
There is an sudio presentation of the plagarism lawsuit against Charlie Chaplin over his film "Modern Times". There is also a 1998 video interview with Bronja Clair and two deleted scenes.
Finally, Rene Clair's 1924 surrealist film Entr'acte is also on the DVD. It is a short film about a funeral where pepole chase a runaway wagon carrying the casket. Some scenes are played in a very cool slow motion which is better seen than read about.
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