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Director RenéClair won his first fame with a simple love story. Sous Les Toits de Paris, his second fame and third with brilliant satiric farragos, Le Million and A Nous La Liberté. July 14 is a simple love story of a blonde flower-seller (Annabella) and a taxi-driver (Georges Rigaud). Across the street in the shadow of Montmartre they fall in love on July 13th. They talk in the street, that night go to the street ball after she has lost her job in a cabaret for slapping an old drunkard (Paul Olivier). That night...

Author: /time Magazine | Title: Cinema: The New Pictures: Oct. 30, 1933 | 10/30/1933 | See Source »

...humane spontaneity. There is beautiful lively Annabella, half ingénue, half adult, whom he found for Le Million. There is stubborn-mouthed, idealistic Georges Rigaud and Raymond Cordy with the sliding, friendly black eyes, the temper that all his huge patience cannot control, hero of A Nous La Liberté. There is beautiful, sluttish Pola Illery. There is aristocratic Paul Olivier who plays in July 14 one of the funniest drunks ever seen. There are half a dozen marvelous character actors whom Clair uses to fill Frenchmen. French critics found that he had used all this to achieve "poetic...

Author: /time Magazine | Title: Cinema: The New Pictures: Oct. 30, 1933 | 10/30/1933 | See Source »

...LIBERT CHANDLER...

Author: /time Magazine | Title: Letters, Jan. 16, 1933 | 1/16/1933 | See Source »

...some U. S. newspapers lapsed into giving the offhand impression that Senator Borah favors cancellation with no strings attached, the French Press did not. ANOTHER THREAT TO FRANCE bristled the Paris Liberté. "The man who is more important than the President in directing American foreign policy in the name of the Senate now asserts brutally that debts and disarmament are linked! He asserts that military and financial problems should be settled by a new conference under Washington's orders. Is France eager to put her head under the knife of the guillotine...

Author: /time Magazine | Title: INTERNATIONAL: Brutal Borah | 8/1/1932 | See Source »

...Hollywood wanted me for five years. If they are happy, they keep me; if I am unhappy, I must stay. It is not good for me. ... It is more important to make good pictures than good money. . . . Money they can give you; liberty they cannot." A Nous, La Liberté! was passed by the French censor after Liberty-Lover Clair had made some requested changes. Good shots: a crowd of silk hats in the factory yard running away from the camera; the parallel of the factory assembling table and the prison workshop...

Author: /time Magazine | Title: Cinema: The New Pictures: May 30, 1932 | 5/30/1932 | See Source »

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