Fritz Lang – You and Me (1938)


The last installment of Lang’s “social trilogy,” You and Me (preceded by Fury and You Only Live Once) was an ambitious experiment but ultimately a box-office failure. A studied attempt to craft a socially conscious satire in the tradition of Brecht’s didactic plays, the film—produced by Lang himself for Paramount—presents the story of a progressive department-store owner who employs ex-convicts, some of whom have not quite reformed. Although Lang’s directorial sleight of hand is visible everywhere, the film slips between the registers of drama and comedy in ways that may have perplexed contemporary audiences.
David Phelps : In You and Me, as always in Lang, the madness of social outcasts is only the product of the madness of society itself. This time, however, it’s the madness of a gangster musical romance, in which the glitz of department store promotions will be counterpointed by an oracle of prisoners rattling themselves into orgiastic chants of “Stick to the Mob!”; by a Brechtian finale designed to mock any audience that’s come in for easy answers, Sylvia Sidney’s math lesson that crime doesn’t pay has shown both worlds contaminated by the other, even while the cold rationality of her business logic marks the end of mom-and-pop racketeering. The modern battle between carnival and lent—cold-hearted infrastructure against hot-blooded romance—could describe Lang’s style in a modernist nutshell. Lang’s basic thesis, that the only real difference between capitalism and gangsterism is that one works as an impersonal force of law imposed through the threats of facts and figures, while the other is extemporized by the rhythms of the mob and animated by collective instinct, works as a kind of comic chronicle of the whole 20th century: the story of gangsters realizing, to their dismay, that they’ve been replaced by kid-friendly corporations.
Lotte H. Eisner : Fritz Lang (1976), pg. 191-196



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