This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
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…
Unlike anything else I've ever seen. I can't imagine the time it must have taken to orchestrate any given shot in this film. There's so much going on, and you could watch it 100 times and still not catch it all. Brilliant comedic filmmaking.
After viewing this for the first time, presumable out of many, this strikes me as an obvious, incredible achievement in directing. There must be about a million details in this film. If I could only see it through the eyes of Tati, who must know this film inside and out, I'm sure it would make a hell of a lot more sense to me. It's almost as if Tati himself came up with every single person seen on screen throughout the film and wrote down what every single one of these characters were doing throughout the time frame of this film and it's rather incredible to watch.
Thematically the film comes across loud and clear. We're shown a hyper modern…
Film #19 of Scavenger Hunt 14
Task #24. 'Any film from Roger Ebert's 'Great Movies' list'
I don't know if this is true or not, but several people have reported Tati as saying 'I want the film to start when you leave the cinema.' If I had rated and reviewed this film immediately after watching it, it would be at 3 and a half stars and I would have written about being disappointed that Tati didn't make more visual gags from his elaborate and expensive set.
Would it have been dishonest if I hadn't acknowledged that? At university I was always encouraged to completely change my opinion of a book I'd read based on what other people had said about…
Silent film levels of visual inventiveness, with a really mindful use of sound. Truly the best of both worlds.
Playtime is a gloriously whimsical yet calculated comedy that's as dizzyingly chaotic as it is clear and focused. Jacques Tati hones his vision of a uniquely modern cityscape and manages to create an alien yet all too familiar atmosphere.
It's humor isn't gut-busting but subtle and tongue in cheek in the best possible way because it leaves room for a certain sentimentality to wash over it. It's a celebration as well as a critique in the most idiosyncratic way possible and an utter joy to watch while simultaneously being slightly uncomfortable creating a truly one of a kind experience.
Like running through a museum. Just an overwhelming amount of visual information and artistry. I had to watch this in two sittings to absorb it all; it just became too much after an hour. I'm sure I could watch it 10 more times and still see new things. Brilliant.
Jacques Tati, ka. tema monsieur Hulot tegelaskuju, pole mulle varasema põgusa kogemuse põhjal (Jour de Fete, The Illusionist) eriti sügavat muljet jätnud, kuigi tummkoomika, millega Tati lähenemist kõige enam võrrelda saab, on mulle isiklikult väga südamelähedane. Chaplini Modern Times ja Playtime oleks väga hea double-feature. Lühidalt, Tati lihtsalt ei kõdita mu huumorisoont.
Vaatamata filmi vaieldamatutele väärtustele ja lugematutele väikestele muietele, mille kutsusid esile erinevad naljad nendes erakordselt tihedalt sisustatud kaadrites, olin ma valmis peale esmast vaatamist sellele käega lööma ja kategoriseerima asjade hulka, mis mind lihtsalt ei kõneta. Kuid midagi nii ainulaadset ja võrreldamatut ei saa niisama kergelt kõrvale heita. Miski on jäänud mind kripeldama. Ma usun, et ma võiksin seda armastada. Ebert oma Great Movies sarjas ütles tabavalt, et Playtime'i esmakordne vaatamine on pelgalt ettevalmistus selle järgnevateks vaatamisteks. Kasvõi selleks, et märgata kõiki väikseid seiku, mida iga kaader pakub.
Mu esialgne tunne on kerge pettumus, kuid loodetavasti muutub see tulevaste vaatamistega millekski enamaks.
Visually stunning. Incredible use of space. So many small little jokes. Great use of movement.
Going into it I thought I would love it, as I love films that have incredible settings, and weird humor. Such as Roy Andersson films. However, I found myself extremely irritated with the humor. I did not find it funny, rather it gave me anxiety. I now too, hate all American tourists, and I'm American. Except for that lovely lady that played the piano, I loved her.
2 1/2 stars for the visuals, 1/2 star for the piano player, and that is it.
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.
not like stupid/dull, but as in movies that are so insanely packed with things and ideas and visuals they become…