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A Nous La Liberte (The Criterion Collection) [DVD]

Jean Brlin (Actor), Inge Frss (Actor), Ren Clair (Director) Rated:
Unrated
Format: DVD
4.7 4.7 out of 5 stars 40 ratings
IMDb7.3/10.0
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Genre Comedy
Format Multiple Formats, NTSC, Black & White, Subtitled
Contributor Alexander D'Arcy, Jean Brlin, Francis Picabia, Paul Ollivier, Darius Milhaud, Louis Touchages, Rolf de Mar, Marguerite de Morlaye, Georges Charensol, Maximilienne, Eugne Stuber, Jacques Shelly, Roger Le Bon, Raymond Cordy, Vincent Hyspa, Ritou Lancyle, Lon Lorin, Marcel Duchamp, Henri Marchand, Erik Satie, William Burke, Germaine Aussey, Man Ray, Pierre Scize, Andr Michaud (II), Marcel Achard, Lon Courtois, Inge Frss, Jean Mamy, Georges Auric, Ren Clair, Rolla France, Albert Broquin, Robert Charlet See more
Language French
Runtime 1 hour and 23 minutes
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Product Description

One of the all-time great comedy classics, Rene Clair's "A Nous La Liberte" 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, "A Nous La Liberte" is both a potent indictment of mechanized modern society and an uproarious comic delight.

Product details

  • Aspect Ratio ‏ : ‎ 1.33:1
  • Is Discontinued By Manufacturer ‏ : ‎ No
  • MPAA rating ‏ : ‎ Unrated (Not Rated)
  • Product Dimensions ‏ : ‎ 7.5 x 5.5 x 0.5 inches; 2.88 ounces
  • Item model number ‏ : ‎ 2224974
  • Director ‏ : ‎ Ren Clair
  • Media Format ‏ : ‎ Multiple Formats, NTSC, Black & White, Subtitled
  • Run time ‏ : ‎ 1 hour and 23 minutes
  • Release date ‏ : ‎ March 21, 2010
  • Actors ‏ : ‎ Jean Brlin, Inge Frss, Francis Picabia, Marcel Duchamp, Man Ray
  • Subtitles: ‏ : ‎ English
  • Language ‏ : ‎ French (Dolby Digital 2.0 Mono)
  • Studio ‏ : ‎ Criterion Collection
  • ASIN ‏ : ‎ B000067IY4
  • Country of Origin ‏ : ‎ USA
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    4.7 4.7 out of 5 stars 40 ratings

Customer reviews

4.7 out of 5 stars
4.7 out of 5
40 global ratings

Top reviews from the United States

Marilyn K. Hunt
5.0 out of 5 stars many serios social critics have addressed this
Reviewed in the United States on June 24, 2014
Verified Purchase
not to be enclosed, enslaved before a computer today is on our minds..freedom must consist of the work consideration of the source of wealth: the worker. freedom to have employee owned businesses! get off the slave line! funny yet sad movie looks at the struggle of workers..control is looming here in USA in the alarming impingement on human rights.
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cherylny
5.0 out of 5 stars For true filmlovers
Reviewed in the United States on May 28, 2012
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I ordered this DVD of Rene Clair's famous film actually because it comes with the less well-known short film Entr'acte, after an incredibly awful experience with a horrible print issued by Anthology of Surreal Cinema. Entr'acte, with the Erik Satie score, is amazing. (And includes cameos of Parisian heroes of the era - Satie, Picabia, Man Ray, Duchamp) The print quality of both films is excellent.
9 people found this helpful
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Andrew H. Goldberg
5.0 out of 5 stars A bit like Modern Times but not so much
Reviewed in the United States on August 23, 2015
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This great film is often overlooked. Do yourself a favor and see it. wonderful music. Humanistic
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Ed Uyeshima
5.0 out of 5 stars Slapstick Gallic Satire Skewers Industrialism and Corporate Greed Between the World Wars
Reviewed in the United States on July 9, 2007
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.
8 people found this helpful
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Anthony E. King
3.0 out of 5 stars Three Stars
Reviewed in the United States on March 9, 2015
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WHAT I EXPECTED!
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A. Gyurisin
4.0 out of 5 stars May have been a prequel to "The Matrix"....
Reviewed in the United States on April 29, 2008
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 *****
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Sarah Szymanski
5.0 out of 5 stars More enjoyable then expected!
Reviewed in the United States on December 23, 2006
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!
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FABIEN
5.0 out of 5 stars Chef d'œuvre
Reviewed in France on February 1, 2021
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Un grand film. Cette édition est très correcte. Il n'y a pas de bonus particulier mais l'image et le son sont de bonne qualité, il n'ay a pas de défaut
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Cliente Amazon
5.0 out of 5 stars Una película imprescindible
Reviewed in Spain on February 10, 2017
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Hacía tiempo que buscaba esta película, la copia es buena aunque se queden enganchados los subtitulos; por supuesto una gran obra del arte cinematográfico
3 people found this helpful
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Johnnish
5.0 out of 5 stars Five Stars
Reviewed in Canada on November 22, 2014
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best!
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Robert Binney
4.0 out of 5 stars a classic silent
Reviewed in the United Kingdom on February 22, 2016
Verified Purchase
Bought this primarily for the Bronia Perlmutter (as was) interview. Lovely period movie.
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Ralf Herold
5.0 out of 5 stars Toller Film
Reviewed in Germany on April 21, 2010
Verified Purchase
Der Film ist wirklich toll und vervollständigt nun endlich meine Sammlung von filmhistorisch wertvollen Filmen. Er war ja wohl auch eine "Anregung" für Chaplins "Moderne Zeiten". Die leichte Hand von Rene'Clair ist eben die französische Variante.
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