The small village of Cabosse is renowned for one thing: the people who live there can enjoy a long and healthy life, thanks to the pure country air. Seeing a chance to make some easy money, businessman Victor Hardy decides to buy up the entire village and transform it into an upmarket community for the well-off. Within a few weeks, everyone in the village has agreed to sell his house to Hardy, except one man. The elderly Mathieu Dumont refuses to sell up because he is determined to preserve an old family tradition, namely that every Dumont who has lived in the Cabosse should die and be buried there. Hardy sees a potential ally in Dumont’s timid son, Toine, and wastes no time trying to win him round. However, his troubles are far from over… Continue reading
Jeremy Heilman of moviemartyr.com wrote:
One of the supreme suspense films, René Clair’s And Then There Were None combines the glamour and wit of a Hollywood studio production with a considerable amount of very real suspense. Adapted from an Agatha Christie novel (Ten Little Indians), it tells the story of a group of strangers who are invited to stay at an island estate only to find out that they are being eliminated one by one according to the predictions of a nursery rhyme that they find. By making a game of the treachery and never actually showing any of the murders on-screen, Clair achieves the same delicate balance between tension and breeziness that Hitchcock strived for in films such as To Catch a Thief and Family Plot. The production values are top notch, and the cast of relatively unknown character actors assembled keeps us from guessing whodunit right off the bat. Continue reading
Experimental and avant-garde offering from director René Clair that was produced by the French dance company Les Ballets Suis, and features the members mourning the loss of their star dancer, Borlin. Outrageously surreal and silly, it offers such sights as a funeral procession with the hearse being pulled by a camel and the dead occupant giving a final performance. Eric Satie (who is uncredited) composed the music and makes an appearance towards the end. Continue reading
Originally released in 1970 under the title “Cinema d’hier, cinema d’aujourd’hui”. This is the 1972 English translation. Continue reading
One of the all-time great comedy classics, René Clair’s À Nous la Liberté is a skillful satire of the industrial revolution and the blind quest for wealth. Deftly integrating his signature musical-comedy technique with pointed social criticism, Clair tells the story of an escaped convict who becomes a wealthy industrialist. Unfortunately his past returns to upset his carefully laid plans. Featuring lighthearted wit, tremendous visual innovation, and masterful manipulation of sound, À Nous la Liberté is both a potent indictment of mechanized modern society and an uproarious comic delight.
Perhaps the most elegantly rendered feature film of the very early days of sound production (barring, perhaps, Chaplin’s CITY LIGHTS), Clair’s classic is such a seemingly effortless blend of romantic melancholy, bitter social criticism and gentle surrealism, that its many aesthetic qualities tend to overshadow the film’s astounding technological innovations in the poetics of sound. Continue reading