Rene Clair's first film was the bizarre surrealist short ENTR'ACTE, which had music (and a cameo) by composer Erik Satie. Also showing up briefly in that film were two of Satie's young protégés, Darius Milhaud and George Auric.
When Clair made the talkie A NOUS LA LIBERTE, he hired Auric to do a completely original score, which was not common at the time, and a lot of the scenes were shot to recordings of the Auric music. This was only Auric's 2nd film (after Cocteau's BLOOD OF A POET) but he already shows the mastery that would lead to well over a hundred further scores.
Clair and his Oscar-nominated designer fill the screen with wonderful art deco visuals, and there's a sympathetic cast cemented by the two central characters, Louis and Emile. There are some wonderful physical comedy bits in the film (mostly in the factory), as well as the social satire which I didn't find particularly heavy-handed (although that adjective has been used by others). The fine balance of music, visuals, and comedy makes this a winner.
When Clair made the talkie A NOUS LA LIBERTE, he hired Auric to do a completely original score, which was not common at the time, and a lot of the scenes were shot to recordings of the Auric music. This was only Auric's 2nd film (after Cocteau's BLOOD OF A POET) but he already shows the mastery that would lead to well over a hundred further scores.
Clair and his Oscar-nominated designer fill the screen with wonderful art deco visuals, and there's a sympathetic cast cemented by the two central characters, Louis and Emile. There are some wonderful physical comedy bits in the film (mostly in the factory), as well as the social satire which I didn't find particularly heavy-handed (although that adjective has been used by others). The fine balance of music, visuals, and comedy makes this a winner.