Highly Overrated But Still Good

Admirable film.

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

This French film was featured in the book 1001 Movies You Must See Before You Die, and from director René Clair (Beau Travail) it sounded like an interesting concept, I was kind of surprised to see only an average rating by the critics, but that didn't put me off wanting to see it. Basically in a French prison, cell mates Émile (Henri Marchand) and Louis (Raymond Cordy) are friends, and day after day they work in labour assembling various things, e.g. wood or metal products, and together they plan to make an escape. After the plan goes ahead only Louis successfully gets out and makes it, and on the outside after some time he reestablishes himself as a captain of industry and opening his own phonograph manufacturing company which gains good success. Émile feeling he would not be able to do it without the assistance of his friend has no further plans to try and escape again, but he does manage to seize an opportunity to do it himself, and he manages it. On the outside he goes to the primary phonograph factory owned by Louis and gets a job there, he has no idea his friend is the owner, and when they do reunite it coincides with the plan to upgrade factory operations to supply products mechanised. While dealing with their lives, issue with women and staying one step ahead of the law who may be searching for them, and the modernisation they learn will ultimately lead to emotional freedom that could not have come from escaping the prison confines, but they also find freedom brings some consequences. Also starring Rolla France as Jeanne, Paul Ollivier as Uncle Paul Imaque, Jacques Shelly as Paul, André Michaud as Foreman, Germaine Aussey as Maud and Alexander D'Arcy as Gigolo. The two leading actors playing the prisoners who may actually want to do some kind of good after escaping their captivity are good, I recognised immediately that this film obviously influenced Sir Charlie Chaplin to create the film Modern Times, there was even a failed legal battle by a producer to claim for plagiarism, but the director felt flattered, it is a funny film displaying then modern life in a certain environment, and a most watchable satire. It was nominated the Oscar for Best Art Direction. Good!

Rene Clair is an absolute genius, and this film more than proves it. Chaplin even took from this film for Modern Times and made an out of court cash settlement to Clair for it. Its shows the rise and fall of a man who escapes prison and opens up a factory manufacturing phonograph players. Its funny to watch his rise in fortune and fame and to see the character evolve. I was very happy to get this film on DVD. This is the first Rene Clair film I recommend watching and then Le Million, The Italian Straw hat and I married a witch. Being a big comedy fan I was instantly drawn in by his quick wit and gags. I think most Americans overlook how great foreign comedy can be and this film is a great to start the journey.Anyone who thinks the French are not funny need to watch this film.

From their French prison, convicts Raymond Cordy (as Louis) and Henri Marchand (as Emile) take advantage of silly putty cell bars to carry out a daring escape. The industrious Mr. Cordy is successful, but spirited Mr. Marchand is caught in the act. On the outside, Cordy takes advantage of the assembly-line work he performed in prison to become a prosperous phonograph records tycoon. Ironically, he finds his old friend Marchand working the factory production line, after he also escapes from jail. They renew their friendship, which has been threatened by industry.Director Rene Clair makes this an artful picture; from the great bicycle stunt win to the flying money, it's excellent - but, alas, not too amusing. The soundtrack, featuring music by Georges Auric, is effective - but, the spoken words seem unnecessary. "A nous la liberte" might have worked better as a non-talking picture. In a case where Mr. Clair felt imitation was the sincerest form of flattery, Charlie Chaplin employed a similar look and thesis for his "Modern Times" (1936). Although Mr. Chaplin's classic is counted as his first fully sound film, it is tellingly silent.******* A nous la liberte (12/18/31) Rene Clair ~ Raymond Cordy, Henri Marchand, Rolla France, Paul Ollivier

I wanted to like this movie more, especially knowing the movie's history and theme, but in the end I was often bored and frustrated. When compared to Chaplin's "Modern Times", even though it was made after this movie and apparently heavily influenced by this movie, I would say "Modern Times" is a better movie.I was bored in part because the rhythm of many 1930s movies have a slower pace. Scenes go on long to ensure the 1930s audiences gets the point, but modern audiences are quick to catch on. Even allowing for, and expecting, a slower pace I was annoyed at times by the movie's pace.I was frustrated with the lead character. He didn't stand out in a good way. While he was suppose to be a simple everyday guy the audience is to identify with, he seemed dumb, dim witted, and oblivious when it came to the woman he was infatuated with. I realize it was a movie style back then, but it grates if the actor doesn't have the charisma to pull this act off. It also doesn't help when this movie doesn't have a character say the few words that would clear up the confusion.I liked the sets - they were typical 1930s art deco. Big rooms, tall doors, and clean lines. Even though it was obvious and heavy handed, I was fine with the theme that industrial work is like prison labor, while the guards and professors proclaimed that work means liberty.This is shown by the following scene: Factory guards discover one of the escaped convicts lying in the grass outside the factory enjoying the day, and one guard says: "Not at work?! Don't you know that ...". Then the scene cuts to a classroom where a bearded professor tells his class: "Work is mandatory. Because work means liberty." The young children at their desks and writing in their notebooks then sing what the professor just told them.