Seeking better life, two convicts escape from prison.Seeking better life, two convicts escape from prison.Seeking better life, two convicts escape from prison.
- Nominated for 1 Oscar
- 3 wins & 1 nomination total
Paul Ollivier
- L'oncle
- (as Paul Olivier)
Albert Broquin
- Le marchand de primeurs
- (uncredited)
Alexander D'Arcy
- Le gigolo
- (uncredited)
Marguerite de Morlaye
- Une invitée au diner
- (uncredited)
Maximilienne
- Une invitée au diner
- (uncredited)
Eugène Stuber
- Un gangster
- (uncredited)
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaWhen Charles Chaplin's Modern Times (1936) premiered, the original distribution company of À nous la liberté, Tobis, wanted to sue. Director René Clair refused to join such a suit, saying that he considered it a compliment if Charles Chaplin based his film on René Clair's, but the suit went ahead nevertheless. Tobis, sued United Artists and Charles Chaplin for plagiarism. The suit, with separate segments in France and in the US, went on for more than a decade, right through WWII. Charles Chaplin, at the request of his lawyers, finally settled, but never admitted to the charge. René Clair stayed aloof from the affair, and he and Charles Chaplin, whom he greatly admired, remained friends.
- Alternate versionsIn 1950 director Rene Clair re-edited and shortened the film based on existing prints (the Nazis had destroyed the negative). Some excisions include the singing flowers and the scene at the Luna Park, the sequence depicting Émile's date with Jeanne.
- ConnectionsFeatured in Fejezetek a film történetéböl: A francia lírai realizmus (1989)
- SoundtracksÀ nous la Liberté !
Music by Georges Auric
Lyrics by René Clair
Performed by Henri Marchand and Raymond Cordy
Featured review
Classic French masterpiece.
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.
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.
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- uds3
- Nov 3, 2003
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Details
- Release date
- Country of origin
- Language
- Also known as
- Sloboda je nasa
- Production company
- See more company credits at IMDbPro
- Runtime1 hour 23 minutes
- Color
- Sound mix
- Aspect ratio
- 1.20 : 1
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