不朽/難忘的電影 (2)：自由屬於我們 À Nous la Liberté /Freedom for Us (1931 The Liberty is for us), INTERVIEW WITH RENE CLAIR ( 雷內·克萊爾1898~1981)
https://www.facebook.com/hanching.chung/videos/4372236122787161
雷內·克萊爾（法語：René Clair，1898年11月11日－1981年3月15日[1]），法國製片人、作家，20世紀20年代因拍攝喜劇默片而出名[2][3]，後拍攝了一些具有創新精神的有聲電影，曾前往美國、英國工作。第二次世界大戰後返回法國。1960年進入法蘭西學術院。
INTERVIEW WITH RENE CLAIR
https://www.youtube.com/watch?v=xU5i08NdxQs
René Clair - WikipediaRené Clair (11 November 1898 – 15 March 1981) born René-Lucien Chomette, was a French filmmaker and writer. He first established his reputation in the 1920s as a director of silent films in which comedy was often mingled with fantasy.
By the end of the silent era, Clair was celebrated as one of the great names in cinema, alongside Griffith, Chaplin, Pabst and Eisenstein. As the author of all of his own scripts, who also paid close attention to every aspect of the making of a film, including the editing, Clair was one of the first French film-makers to establish for himself the full role of an auteur.
À Nous La Libertè/ Freedom for Us (1931), a satirical political apologue in the form of a mostly silent movie with arias and slapstick-like skits, permeato di ideologia naive utopica e scenografia cubista (Chaplinesco nell'assunto anarchico, influenzerà a sua volta il Chaplin di Modern Times).
Convicts build toy horses. Two of them are plotting to escape. One succeeds, Louis, whereas the other one, Emile, is captured. Louis, having hit a bike rider, is mistaken for a champion and wins the bike race. He robs a store to get some decent clothes and then makes money playing phonographic records at the corner of the street and then selling phonographs and then eventually becomes a tycoon of the recording industry. In his factory the workers behave like robots in the assembly line. In the meantime Emile, a kind soul, rots in jail and, desperate for freedom when he hears a woman sing (it is actually one of Louis' phonographs), decides to hang himself. The window collapses and he can leave his cell. He just wants to listen to the paradisiac music and stare at the beautiful girl, but soon the owner turns off the phonograph and Emile, still unaccustomed to public life, is chased by angry people. He hides in the line of workers waiting to be hired by Louis' factory and so become one of his robotic workers. Life in the factory is not too different from prison. The big exception is Jeanne, the cute secretary who is molested by the foreman and with whom Emile falls in love. Because of his absent-mindedness, he repeatedly wreaks havoc on the assembly line. When he meets Louis, now dressed like the tycoon he is, Emile recognizes him. Louis is embarrassed and scared that his past would come to the light. At first Louis threatens to kill Emile, then tries to buy his silence. Emile is indifferent to the money. Emile wants love. As he tries to run away, he hurts himself. Finally Louis returns to be his friend Louis, as he helps him stop the bleeding. They start singing together and walk out of the executive meeting room hugging each other. Emile becomes part of Louis' aristocratic elite, wreaking havoc at his boring dinners. Louis' silly wife is flirting with all the young men of the aristocracy, and Louis is all too happy about it. Emily asks him to be returned to the factory because he's in love with the secretary. Louis calls her uncle and asks for her hand. The uncle is happy to promise his niece's hand to a friend of the owner. On the eve of the inauguration of a new plant, Louis is blackmailed by a gang of former convicts who threatens to destroy his career. Louis locks them in a room and runs to the safe. He is stuffing as much money as he can in a briefcase when Emile arrives, chased by police officers who are looking for the escaped convict. Trying to hide away, Emile opens the door of the room where the gangsters are locked. Louis leaves the briefcase unattended for a second and one of the gangsters takes it. Emile sees him and runs after him. So the police is running after Emile, who is running after the briefcase, while the police are also running after the gangsters who are running after Louis. The police arrest all the gangsters and Louis refuses to rescue them even if he knows that they will reveal his true identity of escaped convict. The briefcase ends up abandoned on the roof. The following day Louis inaugurates a super-automated factory amid great fanfare. Realizing that he is about to be arrested, he gifts the factory to the workers: the machines will work for the humans, not viceversa. Louis has just finished his speech and is being given a standing ovation by the workers that a strong wind disrupts the ceremony. The wind opens the briefcase on the roof and spreads the banknotes all over the area. The dignitaries at first pretend to be indifferent to the flying banknotes but then start chasing them chaotically at the same time that the police is chasing Louis. In the meantime Emile has seen that Jeanne loves another young man and has accepted the verdict.
The workers celebrate their new paradise, fishing and dancing while the machines work for them, while Louis and Emile have become vagabonds and continue their journey.
When Chaplin made Modern Times in 1936, it was noted that some parts of it bore a marked similarity to scenes in À nous la liberté, and the production company Tobis launched a lawsuit for plagiarism against United Artists, the producers of Chaplin's film. Clair was embarrassed by this since he acknowledged his own debt to the spirit of Chaplin, and he refused to be associated with the action.[11]
all'idillio di periferia di Quatorze Juillet (1933), fra un tassista e una fioraia, e alla grottesca satira della dittatura e del capitalismo di Le Derniér Millionaire (1934).
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