A me la libertà!
« Suvvia, gettiamo le catene che trascinammo notte e dì.
Ormai l'incubo è finito.
A noi, a noi la libertà! »
(Parte finale del ricorrente motivetto cantato da Emilio e Luigi)
A me la libertà! (À nous la liberté) è un film del 1931 diretto da René Clair.
RiconoscimentiAlla prima edizione della Mostra del cinema di Venezia, ottenne un riconoscimento non ufficiale come film più divertente.
Nel 1932 fu indicato tra i migliori film stranieri dell'anno dal National Board of Review of Motion Pictures.
TramaDue amici detenuti, Emilio e Luigi, cercano di evadere. Luigi ci riesce grazie a Emilio, che crea un diversivo e svia l'attenzione degli inseguitori. Fuori, Luigi trova un lavoro e diventa commerciante di dischi per i fonografi. Mette su una piccola azienda. Il commercio prospera: con il tempo, la sua impresa diventa sempre più grande e importante. Emilio, uscito di galera, senza un lavoro, disoccupato, vagabonda per strada, prende il sole... Un giorno, vede Giovanna, la nipote del contabile dell'azienda di proprietà di Luigi e se ne innamora. La segue fino alla fabbrica dove, suo malgrado, viene assunto. I due vecchi amici si ritrovano uno davanti all'altro. Il lavoro in fabbrica è sempre più disumano, privilegiando l'automatismo: gli uomini devono comportarsi come macchine. Luigi crede che il vecchio amico lo ricatti, poi scopre che il ricattatore è un altro malavitoso. Decide di regalare la fabbrica ai suoi operai e se ne va a fare il vagabondo insieme al vecchio amico.
ProduzioneProdotto dalla Films Sonores Tobis.
DistribuzioneIl film fu distribuito in Francia dalla Films Sonores Tobis, uscendo il 18 dicembre 1931. In Italia venne presentato alla 1ª Mostra internazionale d'arte cinematografica di Venezia il 6 agosto 1932, e distribuito nelle sale in ottobre dalla Cines-Pittaluga.
Edizione italianaL'edizione italiana venne modificata dalla censura a partire dal titolo, in cui il noi venne trasformato in me così da strapparlo da intonazioni di carattere rivoluzionario. Venne inoltre "sforbiciato" di 15 minuti dall'edizione originale; in particolare vennero eliminate, nel finale, le scene nelle quali, mentre le macchine producono automaticamente i grammofoni, gli operai giuocano, bevono, pescano e danzano. I dialoghi vennero curati da Alessandro De Stefani, la direzione artistica (doppiaggio) da Mario Almirante. Rappresenta uno dei primi film doppiati in Italia, nel neonato stabilimento di doppiaggio della Cines-Pittaluga a Roma.
Critica«Il film vuol essere la satira dell'industria contemporanea, della standardizzazione; ma il fiato è corto e le intenzioni, che s'abbondano, non sempre giungono a un risultato. Sovente gustoso e piacevole, qua e là appaiono però alcuni dei più vieti elementi delle vecchie «comiche» cinematografiche, non sempre riscattati dall'ironia che li ravvivava in Le million: il servo distratto che rovescia crema e crema sulle spalle dei commensali esige addirittura tutto un breve capitolo, con gli sviluppi ma non con la cadenza che gli avrebbe attribuito un Chaplin della prima maniera. In compenso affiorano parecchie trovate felici, innestate con una garbata eleganza che sa rinverdire anche altri elementi già abusati». (Mario Gromo, La Stampa, 8 ottobre 1932)
ControversieNel 1937, il Ministro della Propaganda nazista Joseph Goebbels, controllante della casa di produzione Sonores Tobis, produttrice del film, mosse causa per plagio contro la United Artists, a riguardo del film Tempi moderni del 1936, in quanto secondo lui venne copiata la scena della catena di montaggio. In realtà, la causa fu montata solo per arrecare danno a Charlie Chaplin, ma René Clair si dissociò, con conseguente annullamento della procedura; il regista si dichiarò persino onorato per lo spunto di Chaplin preso dal suo film. Clair, come da sua abitudine, eliminò dal montaggio due scene per un totale di 7 minuti (c'è chi sostiene 10); ufficialmente per accorciare la durata, ma in realtà per non dare adito a situazioni controverse che avrebbero danneggiato la pellicola: 1) Quella del campo di grano davanti la fabbrica ormai meccanizzata, che vede l'operaio nel sonno, poi sveglio e pronto a cantare mentre raccoglie un fiore, subito preso da due guardie. 2) La lunga bolgia nel parco, con durata ininterrotta di circa 5 minuti. Le due sequenze furono poi nuovamente inserite dallo stesso Clair nella riedizione del 1952.
09 apr 2015 - Caricato da #leontina cenochemore films : https://youtu.be/UYjCKv94xwk?t=28 https://youtu.be/6R3Jrzmz8Ds?t
À nous la liberté (English: Freedom for Us) is a 1931 French film directed by René Clair. With a score by Georges Auric, this film has more music than any of Clair's early films.
Plot summaryThe film opens with an image of a wooden toy horse. Gradually we observe that this is an assembly line in a prison, staffed by prisoners. They sing (La liberté, c'est pour les heureux = "Freedom is for the happy") as they work. Close-ups of two prisoners (Louis and Émile, the film's main protagonists) indicate they've taken a work tool. The prisoner next to Louis occasionally looks on, looking somewhat bored. After dinner everyone goes back to their cell. After feigning sleep during a guard's nightly rounds, Louis and Émile sing the title song as they resume a project of sawing off the prison window. Émile cuts himself, and Louis kindly mends the wound with a handkerchief. The window breaks free and they attempt to escape. Louis is able to get over the retaining wall, but Émile is not successful. Louis escapes, accidentally knocks someone off a bicycle, and rides off on the bicycle. Meanwhile we hear a chorus suggesting he's about to be captured (Ce sera bientôt fini = "It'll soon be over"). Louis heads into a village emblazoned with the words "Finishing Line" - the cyclist he knocked over was in a bicycle race, and Louis has won first prize.
Louis enters a store to purchase some handkerchiefs. While the proprietor is looking in a backroom, he hears Louis's muffled cries for help. After being unbound, Louis explains that someone robbed the store and made off with the money. He points the direction and a group of people run after the thief, leaving Louis alone, revealing that it was he who stole the money, feigning the story.
A montage sequence follows in which we see Louis transform himself from a poor record merchant, to the well-attired and well-mannered head of an industrial factory that produces record players. Interior shots of the assembly line bear a strong resemblance to the assembly line seen at the beginning of the film.
Meanwhile, behind the factory we see an open field. Émile (apparently now out of prison) has been sleeping, and wakes up to a beautiful day. A flower sings "Ami, l'ombre de la prison a cédé la place au soleil" = "Friend, the shadow of prison has given way to the sun." A policeman comes by and tells Émile he must get to work. But he is put in a cell for resisting arrest. Through the prison window, he sees more flowers surrounding an apartment window and thinks he hears them singing ("Viens, toi que j'aimerai" = "Come, you who I will love"). Then a lovely woman, Jeanne, appears at the window and appears to be the source of the singing. Sad at his predicament, he tries to hang himself from the prison window. But the gate is too weak, comes loose and falls on Émile's head, enabling him to escape. He stands by the apartment entrance, looking up at the flower-covered window, but is slightly disappointed to realize that the flowers are not singing, and that it's only a recording. Then he realizes that Jeanne has emerged from the apartment with her Uncle, who appears to be overly-protective and pulls her away from Émile, and kicks him. A commotion and chase ensue in which Émile runs as we realize that Jeanne already has a boyfriend, Paul.
Émile makes his way into the factory and lands in the recruitment department. A recorded song ("Vous qui désirez un emploi" = You, who desires employment") instructs him on how to be measured, weighed, and fingerprinted. In the next scene we see Émile back on an assembly line, this time assembling phonographs. Upon seeing Jeanne also working in the factory, Émile becomes absent minded, causing great consternation and humor on the assembly line (This scene at the assembly line was probably the inspiration for the opening scene of Charlie Chaplin's Modern Times) A guard tries to stop Émile from talking to Jeanne and they chase after him. He is stopped by guards near the foot of a grand staircase at the doorway of an office. Louis emerges with aides, and Émile gets his attention. At first Louis does not appear to remember his prison friend, but takes him into his office, thinking this is an extortion plot. After a scuffle, Émile cuts himself. As Louis tends to the wound with his handkerchief, he recalls that he did similarly when the two tried to break out of prison at the film's outset. His attitude changes to one of friendship, as he embraces Émile and sing a brief reprise of the title song.
The scene is a dinner party at Louis's house. Neither his guests nor his wife Maud, nor her gigolo lover think much of Louis. Meanwhile, Louis and Émile don't care, and enjoy sending up the haughtiness of his life style, climaxing in another reprise of the title song, as the two friends dance in front of a painting of Louis which he has damaged with a bottle of wine.
With her suitcases packed, Maud leaves the house. Émile also leaves, and briefly encounters an ex-prisoner on the street. (This is the same person who was sitting next to Louis at the film's outset.) Louis is thrilled to look out the door at the departing Maud, but does not see the ex-prisoner, who makes a nod of understanding to himself.
Back at the factory, Émile tries to make overtures to Jeanne, but is thwarted by guards, eventually finding himself in Louis's office. Louis has been explaining that his new factory will opening the next day, increasing productivity. Upon seeing his friend interrupt, Louis is slightly annoyed until Émile explains that he wants to court Jeanne, another worker. From his office card files, Louis is able to produce a picture profile of Jeanne, but this is automatically followed by a profile of her Uncle. Louis invites both Jeanne and her Uncle into his office to explain Émile's interest, and offers some money along with it. Uncle is impressed, but Jeanne is bewildered and unhappy.
Louis arrives at home, wondering where his servants are. He discovers them tied up, and enters a room filled with ex-convicts, now gangsters, led by the person who sat next to him in the opening scene and who encountered Émile the other night. They sing briefly, before the lead gangster reveals their purpose. They want to extort money from Louis by threatening to reveal that he's an escaped convict. Louis refuses to accept.
Lovers' quarrel in the Magic Park. The scene opens in Luna Park, with Émile happily talking with Uncle, while Jeanne looks very unhappy. Paul sitting at a distance, looks on disapprovingly. During the scene, Jeanne is able to get away and be alone with Paul. Émile, unseen, finally finds her and realizes that she already has a boyfriend.
Émile longingly looks up at Jeanne's apartment window, as she happily waves to Paul. He realizes that he can't have her. While he's alone on the street, a policeman tries to question Émile, who runs into the factory for safety, but is pursued by guards.
Meanwhile, the gangsters have asked to visit Louis's factory. He leads them into a secret room within his office, and then seals the door behind him. As the gangsters realize they're trapped, Louis empties his safe of all his money, putting it into a small suitcase on his desk. Émile finds him, and Louis explains that he's about to be denounced by the gangsters. He then hides Émile while he briefly speaks to the guards who have been searching for his friend. At the same time, another ex-convict enters Louis's office and takes the suitcase. When Louis returns with Émile, he realizes the suitcase is missing and tries to look for the person with it. Pursued by guards, Émile accidentally opens the secret room through which all the gangsters emerge. Both Émile and the gangsters chase after Louis, who chases after the ex-con who took the suitcase. This ex-con is able to penetrate to the roof the factory, but is caught, leaving the suitcase on the roof. Apprehended, the gangsters show the police Louis's picture as a convict, but they are taken away.
It is the inauguration of the new factory with crowds of dignitaries and workers assembled. Louis gives a speech extolling its virtues of productivity. A deaf old man cuts the ribbon, and a chorus sings a slow march, "Gloire au bonheur" = "Hail to happiness," as the automatic assembly line produces portable phonographs. Another speaker begins a speech, while Louis sees the policeman. The policeman has realized that Louis is an escaped ex-convict, and patiently waits for the festivities to end to apprehend him. Louis makes a concluding speech in which he gives the factory to the workers, and says that fate will take him to a different place. As another speaker continues, a wind begins to pick up, gently blowing the decorations. It also gradually begins to blow the money that was in Louis's suitcase, still sitting on the roof of the factory. Gradually, bills appear on the factory grounds, testing everyone's propriety, as they look frustrated at not wanting to appear uncivilized by bending down to pick up the money. But Louis has no inhibitions: He immediately recognizes what and where the money is and begins going after it. This is turn launches everyone into a chase after the money. The scene turns to a merry chaos as the dignitaries in top hats wildly chase after money.
The final scene of the film shows the now-idyllic factory. Instead of working, only a few workers now play cards, as the automated factory does all the work. The camera pans along to another area by a brook, festively decorated with ribbons. Most of the workers are here, dancing and enjoying themselves to a reprise of the song "Ami, l'ombre de la prison" which blends into "Viens, toi que j'aimerai" as we see Jeanne and Paul, happily dancing with each other. A cut takes us to Louis and Émile, now tramps, entertaining people on a roadside by singing the third verse of the title song. The people throw coins at the two tramps. A rich car passes, making Louis momentarily dream of what he once had. After a swift kick in the rear by Émile, the two head off down the road to the final strains of the title song.
- Henri Marchand as Emile
- Raymond Cordy as Louis
- Rolla France as Jeanne
- Paul Ollivier as L'Oncle
- Jacques Shelly as Paul
- Andre Michaud as Le Contremaitre
- Germaine Aussey as Maud - La Femme De Louis
- Leon Lorin as Le Vieux Monsieur Sourd
- William Burke as L'Ancien Detenu
- Vincent Hyspa as Le Vieil Orateur
ProductionAlong with his two first sound films, Sous les toits de Paris (1930) and Le Million (1931), À nous la liberté shows Clair continuing to experiment with the possibilities of sound film. The image of a flower in combination with an unseen voice leads the viewer to think the flower is singing. Once accepted, the viewer is led to accept that a chorus of flowers is singing when Émile views the window from prison. As he does with narrative, Clair reveals the truth slowly and in a circuitous way so as to produce comedy and satire, in this case, by first suggesting the flowers are singing, and then that Jeanne is singing, when in fact it is a phonograph—revealed only because it runs down.
An aural flashback occurs when Émile re-encounters Louis, and a small argument results in Émile getting cut. As Louis bandages the cut, the soundtrack plays the non-musical marching of the prisoners (who wore wooden clogs).
Many sound effects are achieved not through natural sound but through Auric's musical score. In the phonograph factory, the "sound" of assembly line mechanization is done through music (using xylophones, among other instruments). There are several passages such as when Louis keys in the numbers to retrieve the profiles of Jeanne and her Uncle, where only the music supplies an accompanying sound.
Release and reception
PoliticsÀ nous la liberté comments on society by depicting industrial working conditions as not much different from being in prison. DVD Verdict's Barrie Maxwell adds that the film depicts "a France oblivious to all going on around it, as portrayed by the sequence in which an aging French politician drones on to his audience about justice and liberty and patriotism, while the audience has long since lost interest, preferring instead to concentrate on chasing money that has accidentally fallen out of a bag and is now blowing in the wind."
The film had two scenes cut out of it after its original release by its director. Many fans of the film have objected to this since the cut footage adds up to about ten minutes of footage.
Chaplin controversyThe film later became embroiled in controversy with the release of Charlie Chaplin's Modern Times (1936), which bore some similarities to this film, such as the conveyor belt gags. In the end, instead of going to court, they reached a settlement, but the whole episode lasted around a decade. Chaplin maintained that he had never seen the film, as did everyone else at the studio.
René Clair himself was never a part of the case and was actually quite embarrassed by it, since he had great admiration for Chaplin and had always maintained that they were all in debt to him, and any inspiration Chaplin might have gotten from his film would be an honor for him. A speculation over this case was that it was a conspiracy from Nazi Germany to discredit Chaplin; À Nous la Liberté's production company, Tobis-Tonbild-Syndikat , was German. It is notable that the out-of-court settlement was reached only after the end of World War II.
1950 versionIn 1950, Clair re-released the film, deleting two scenes:
- The sequence where the flower sings as Émile wakes up on a field.
- Lovers' quarrel in the Magic Park.
11 ott 2014 - Caricato da Ajedrecista291 - A NOUS LA LIBERTE - Film de René Clair 1931 - leontina cinoche - Duration: 1:22:56. #leontina cenoche 6 ...
Louis et Emile, deux copains de détention, décident ensemble de se faire la belle. Seule la tentative d'évasion de Louis réussit. De retour derrière les barreaux, Emile purge sa peine, bercé par la triste routine du labeur qu'il y accomplit, et devient une sorte d'ouvrier spécialisé décérébré. De son côté, Louis monte un petit commerce, spécule habilement, acquiert considération et embonpoint. Le voici à la tête d'une usine ultra-moderne qui fabrique des phonographes. Libéré, Emile vient rendre visite à son vieux copain et constate que les ouvriers de Louis ne sont pas mieux traités que les pensionnaires de la prison qu'il vient de quitter...
|Produced by||Frank Clifford
|Written by||René Clair|
|Starring||Henri Marchand Raymond Cordy Rolla France|
|Music by||Georges Auric|
|Edited by||René Le Hénaff|
|Distributed by||Films Sonores Tobis Joseph Burstyn (1954 US re-release)|