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Synopsis

La Vie est à nous is a lyrical film essay, a truly collective effort by some of the finest writers, directors and cinematographers working in France in the thirties, yet one that bears the strong imprint of Jean Renoir, who supervised the project. It was the first militant left-wing film made in France, in support of the Communist Party, and was banned by the censor and thus only screened in local cinemas to “subscribers” to Ciné-liberté, the magazine of the left-wing group of cineastes. The film is an amalgam of sketches, documentary and pseudo-documentary sequences, among them a “portrait” of the 200 families said to rule France; activities and observations of various working people and the Party’s connection to them; and the highlight in which the Fascist Colonel de la Rocque performs an idiotic little dance to the barking sounds of Adolph Hitler, thanks to ingenious editing. In Renoir’s canon this film might be said to be Le Crime de M. Lange in macrocosm-a film about all the M. Langes, indeed, a film made in the collective spirit of that Popular Front-inspired tale. —BAM/PFA

Director

Original

Jacques Becker

His interest in films was stimulated by a meeting with King Vidor, who offered him employment in the US as actor and assistant director. However, he remained in France and became assistant to Jean Renoir, a friend of the family, during that director’s peak period (1932-39). In 1934 he ventured briefly into independent production, co-directing with Pierre Prévert a short film, Le commissaire est bon enfant, le gendarme est sans pitié (1935). In 1935 he turned out a five-reeler, Tête de turc (1935), which he later refused to acknowledge as his.

In 1939 he began shooting a feature film, L’or du Cristobal (1940), but walked out after three weeks, leaving the film to be finished by Jean Stelli. In 1942, after a year in a German prisoner-of-war camp, he began his career as director. His entire output consisted of only 13 films, but they include some of the most artistically and technically substantial in French cinema. He is one of the few Old Guard directors done honor by the New… read more

Original

Jean Renoir

The son of the painter Auguste Renoir, Jean Renoir became one of France’s most important and respected filmmakers during the middle of the 20th century. A Philosophy and Math student, Renoir became a cavalryman, but was invalided out of the army before World War I. Later, he married a model and aspiring actress, and, following the death of his father and the acquisition of an inheritance, set up his own production company to produce movies for his wife. Renoir learned from these early experiences of financing movies and watching other films, and became a director in 1924. With the advent of sound, Renoir’s career was quickly made with a series of profitable films, including La Chienne (1931), a savage and dark drama about a man’s self-destruction, which was later remade by Fritz Lang as Scarlet Street. Renoir’s subsequent films, including The Lower Depths (1936) and Grand Illusion (1937), were among the finest made in France before the war, and were well acknowledged at the time of… read more

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