All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
Jacques Tati’s gloriously choreographed, nearly wordless comedies about confusion in the age of technology reached their creative apex with Playtime, a lasting testament to a modern age tiptoeing on the edge of oblivion.
What a mess. What a beautiful fucking mess. Chaos and adventure reign. Nothing like a film that completely seduces you after a string of previous films failings that do naught to jolly your rodgers. I did not expect this magnetism. I did not lace my boots or put my tray table up in time. This is my first Jacques Tati film, poppin' cherries all over the place. With this ambitious paragon of hypnotism he goes straight to the top of the director to-do list. It is very sad to read of the debt and trials that he had to go through to get this made, and had to continue through for a decade after. I for one welcome our new…
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Now this is beyond what I expected after Les Vacances de Monsieur Hulot - A cinematic marvel to be adored and respected and quite simply, a work of astounding genius. I think I really needed this extra level of Tati to really appreciate his art, and with it's colour presentation aiding me to escape my desire to compare him with the masters of the silent era. Filmed over 3 years, this ambitious vision of a world where modernity and technology obscures mans interaction with each other and everything is transparently artificial, Monsieur Hulot tries to navigate a Paris of steel lines and glass panes to share his heart with someone, anyone. From one ingeniously staged episode to…
I was shaving my legs while watching this film but it was such a fucking good movie that I couldn't take my eyes off the screen and now my legs still aren't shaved. I'm going to have a tough time making friends at the beach.
Audaciously grand and visually bewildering, Jacques Tati's Playtime made my eyes hurt. In this stunning accomplishment, Tati crafts a visionary and relentlessly detailed landscape and lets his camera loose. At points, the audience follows Monsieur Hulot, a confused and out-of-luck man whose goofy antics highlight the alienating structure around him. And yet, Playtime focuses more on the shifting interactions between people, drifting through modern towers and chaotic restaurants to illuminate the intricate stages of humanity.
However in spite of its majestic insanity, I can't say that I particularly enjoyed Playtime. Its humor, while brilliant and near-constant, wore thin within the first half-hour, and as a result, the entire film lagged at multiple moments. With no story keeping me emotionally invested, all I could think of during Tati's Playtime was how much I admired it.
Heretical confession: Though my first viewing was ideal—70mm on the giant Lumière screen at Cannes in 2002, right after its restoration—I think I enjoyed it more at home (on Blu-ray). Rather than feeling continually anxious about what I might be missing in a far corner of the screen (my own idiocy, admittedly), I was able to relax and allow my attention to be subtly directed, which made the first half much funnier. And even when the office-set stuff isn't hilarious, it's consistently awe-inspiring, particularly in the way that adjacent shots navigate the architecture; each new angle builds on the previous one, usually in a way that requires a brief but invigorating moment of visual recalibration. Until night falls, yes,…
Playtime is like a Richard Scarry or Where's Wally? book in very elegant, moving form.
There is so much to take in, there are so many tiny events in every scene, that I don't for a minute doubt the other reviewers here who say how spectacular this film is on this big screen.
But no matter whether you see it on a TV or in the cinema, there is no equivalent of being able to stare at a huge illustration for ten minutes until you've taken it all in - at least not without substantially spoiling the experience of this as a film by endless freeze-framing.
Its feeling of so much happening, of almost too much going on in front…
I've been on an incredible journey of discovery of French cinema. Each has surprised, delighted and enlightened. Then came along Playtime and it turned my whole world upside down. How could I have ever known how special this would be?
A hugely ambitious work of comic genius. The colour palette and design (Bertoia Chairs!) were enough to have me collecting my jaw off the floor. But then came sight gag, after sight gag, after sight gag and genuine laugh out loud moments with barely a line of dialogue.
A movie that's so massive in scope and so intimate in execution. Shot in 70mm and as far as I could tell, without a single close up, yet Mr Hulot's bewilderment is palpable
and utterly charming.
I would give ANYTHING to see this in a cinema. Movies like this remind me of why I fucking love films so much.
Information overload. Would need to watch again.
It's really well made, but some parts of the film don't really hit as well as I was hoping for. Goes on just a little too long. But I hear it only gets better with multiple watches as you notice all kinds of small details, so I'll be going back sometime for sure.
Tati takes every element/simbol of progress, such as; neon lights, modern furniture designs , air conditioner, architecture, fashion, and he turns it in to a gag and a reflexion about the alienation in the modern cities.
"Playtime" it's one of the most beautiful photographed, designed, and choreographed films I've ever seen.
So many moving parts. So well choreographed.
Construindo o local perfeito para a sua desconstrução, Tati procura em cada som e equilíbrio, uma oportunidade de caos são e humorado. A perfeita harmonia na melancolia e graça do ridículo no dia-a-dia.
Supongo que de aquí se inspiro Roy Andersson para sus perspectivas en parte.
Bellismos cuadros (fotogramas), pocas risas, pero mantiene la atención, aunque debía terminar justo después del restaurant, en la mañana en la farmacia, lo que sigue se siente demasiado largo -aunque el truco con la ventana y el bus fue espectacular, como tantos otros desperdigados en el camino (la flecha de neón, la lampara en el trole -homenajeado en Broad City-)-.
En cada escena pasan tantas cosas que le di replay como si fuera peli de acción casi.
I did not enjoy the film the first time I watched it. All of the jokes fell flat, and I found it hard to get past that.
After watching it a couple more times, and eventually on 70mm. And then on 70mm again, my appreciation of this film has grown to the point where I've come to think of it as one of the greatest films ever made.
_Playtime_ certainly makes novel use of the medium. The degree of control that Tati exercises over the _mise-en-scene_ is insane, and the soundtrack exists only as a layer to the comedy and to give an impression.
_Playtime_ is a film about modern life. Glimpses of Tati's Paris exist only in reflections. Tati's vision of a world of concrete and glass is not a unique one, but his depiction of it is unique.
not like stupid/dull, but as in movies that are so insanely packed with things and ideas and visuals they become…
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…