那些我们的国土

If the cinema had been invented earlier we could have seen Molière on stage and we would know exactly how to act his plays. So Guitry's purpose was to immortalize the artists, thanks to the "magic lantern". The silent sequences (1915) were presented by Guitry sitting at his desks as such is often the case. Saint-Saens, age 80, is conducting his orchestra and we see him face on, which is, Guitry points out, completely unusual. Auguste Renoir, an old disabled man, needs his son's help (the famous Jean who would become one of the greatest French directors) to continue his work. HG Clouzot would remember Guitry's lesson when he filmed "Le Mystere Picasso" (1956). Renoir declares that he would accept the "Legion d'Honneur" because it impresses the station masters, one sentence Henri Jeanson will use (more or less) in the lines of "Entrée des Artistes". "Ceux de Chez Nous" is not unlike Guitry's infamous "De Jeanne D'Arc à Pétain". Of course it's less offensive nowadays than the 1942 effort.