All the films from all the editions, including those subsequently removed, presently totalling 1167. 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…
I have mixed feelings towards Jacques Tati's Playtime. The first half is filled with plenty of hilarious and clever gags, being just a delightful adventure. Monsieur Hulot goes through a lot of confusing as well as unfortunate situations and he is one of those incredibly sympathetic characters you just can't help rooting for. Playtime is Tati's love letter to Paris and I liked how it deals with people's struggle with modern technology and the hectic life in the city. The second half of the film focuses on a busy night in a restaurant, which is surrounded by chaos and unforeseen events. It wasn't as interesting as the first portion for me and while it certainly contained a couple of excellent…
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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.
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,…
For whatever reason, Playtime was in the same company for me as Sansho the Bailiff, The Earrings of Madame De..., and Persona as highly acclaimed films that carry with them a presence and intimidation. In hindsight, why a Tati film would come off as daunting sounds pretty ridiculous.
I had heard over the years it's use of architecture and setpieces as a main focal point, and that surely was the case. The entire screen was used to full effect, and was absolutely gorgeous on blu-ray. It's set in modern Paris, constructed from scratch, with plenty of steel, glass, and other symbols of alienation. The film wasn't so much about Tati's Monsieur Hulot as the camera is constantly viewing the landscapes…
Jacques Tati was a genius and an artist.
Playtime is an impeccably crafted visual poem that speaks to the role modern technology has in our everyday lives. The film is at once clever, funny, damning, insightful, and beautiful. Perhaps better yet, it represents such a singular vision, and is such a crowning achievement, that the world of cinema is a better place for it.
Filmed in 70mm and featuring cinematography, set design, sound design, costuming, and production design that would rival 2001: A Space Odyssey, the film truly is a feast for the eyes. Though the story's core visual gags and set pieces may go on just a bit too long (in particular, there is a scene highlighting the folly…
Jacques Tati's audacity in Playtime is breathtaking, to say the film is unique is an understatement, there is nothing else like it on God's earth and even if Tati's previous films clearly point in this direction they are only wayside markers this is the final destination. Tati following his earlier successes clearly thought he could do no wrong and in many ways time has proved him right, but the film is also a monumental folly, it cost a fortune, took the best part of a decade to make, bankrupted it's director and although a critical triumph from the start, fared poorly at the box-office, recouping little of it's immense cost. It's a film with no conventional characters or plot, just…
It's not just about what we see, it's about the fact that we can see it. It's one thing to notice how similar the interiors of two houses are, another thing entirely to notice how strange it is that we have a full view of the inside of someone's home from out on the street.
Playtime takes place in a glass world where we can see everything, but it's not necessarily easy to access everything. When M. Hulot needs to find someone, he can see them without too much difficulty from above, but when he goes down to pursue them it's like navigating a maze.
There are parallel stories of two different people moving through this world, one with great…
In which an Antonioni-esque aversion to architecture gives way to a warm, undeniable faith in the good of humanity on a grand, painstakingly beautiful scale. This is still the greatest movie ever made.
I might be a philistine, but while I recognize the immense vision and care of the film, it left me cold and a bit bored. It may be the most acclaimed technical exercise in cinema history, but it is still just a technical exercise.
Best film ever.
Let me start out by saying that Playtime is one of the weirdest and most bizarre films I have ever seen. The closest genre you can stick it to is a satire and dissect of how people live and function in the modern world. For all of its irrationalities and oddities though Playtime remains to this day a beauty and an artifact of old French cinema. It is also one of the most original films ever made and that is mainly why I have to give it a top rating. Keep in mind that there is limited dialogue in this though. If you want to make any sense of this movie then it is advised you let the visuals, sounds,…
Could watch again just to catch the stuff I missed.
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Last few time I've visited Tati, it was on a beach amongst other vacationists in Les Vacances de Monsieur Hulot and with his nephew in Mon Oncle. Watching Playtime pretty much brings you to the same setups and comical situation with a man trying to understand the modernisms of technology, architecture,consumerism and studying the quasi-futuristic landscape with child-like endeavour. So apart from like the more rural landscape of Les Vacances...we pretty much get to frolic in the Chaplin-esce/Modern Times in both Mon Oncle and Playtime.
Once again we get to see pretty much where Atkinsons Mr Bean hails from. A genious business idea making a character without dialogue will make money in all non-english (or in this…
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…