picks up and blows the money off the roof, and the crowd runs after it. Louis uses the distraction to sneak away from the police. With the factory running itself, the workers, Jeanne and Paul among them, spend their days in leisure. Émile and Louis, however, are now singing for spare change and traveling on foot. When a fancy car drives by, reminding Louis of how he used to live, Émile kicks him in the butt and, happily, they head down the road together. Cast Henri Marchand as Emile Raymond Cordy as Louis Rolla France as Jeanne Paul Ollivier as Jeanne's Uncle Jacques Shelly as Paul André Michaud as The Foreman Germaine Aussey as Maud (Louis' girlfriend) Léon Lorin as The Deaf Old Man William Burke as The Former Inmate Vincent Hyspa as The Old Speaker Alexander D'Arcy as The Gigolo (uncredited) Production Along with his two first sound films, Sous les toits de Paris (1930) and Le Million (1931), À nous la liberté shows Clair continuing to experiment with the possibilities of sound film. At one point, the image of a flower, in combination with an unseen voice, leads the viewer to think the flower is singing. Once this is accepted, the viewer is able to accept that a chorus of flowers is singing when Émile views a window from his jail cell. As he does with narrative, Clair reveals the truth slowly and in a circuitous way, so as to produce comedy and satire; in this case, by first suggesting the flowers are singing, and then that Jeanne is singing, when in fact it is a phonograph—revealed only because it runs down. An aural flashback occurs when Émile re-encounters Louis, and a small argument results in Émile getting cut. As Louis bandages the cut, the soundtrack plays the non-musical marching of the prisoners (who wore wooden clogs). Many sound effects are achieved, not through natural sound, but through Auric's musical score. In the phonograph factory, the "sound" of assembly line mechanization was depicted musically (using xylophones, among other instruments). There are several other passages, such as when Louis keys in the numbers to retrieve the profiles of Jeanne and her uncle, where the music supplies the only accompanying sound. The film had two scenes cut out of it, by Clair, after its original release. Many fans of the film have objected to this, as the cut footage adds