there's a thing where you adds 'in my ass' to the end of a movie title, so here are some…
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.
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,…
We all know: the elaborate set design and mise-en-scene, the attention to detail, the choreography, the way Tati creates an organised chaos. It was a gorgeous movie in 1967, it is still a gorgeous movie. No surprise it is in many canonical lists. A cinematic dream for film critics and scholars.
But, does it deliver as a movie, particularly as a comedy (which I think it is intended to be seen like that)? Not so much for me. It relies on a kind of physical comedy that is miles away from the masters like Chaplin, and situational awkwardness and absurdist, but ends up being silly most of the time.
I honestly don't think I was born with a Tati funny bone. Like Roy Andersson after him, Tati'a tableaus are incredibly detailed constructions, lensed so well to capture such awesome still frames. The choreography is the obvious highlight as the film basically changes subjects as new characters enter the frame. There are certainly amusing moments and I did chuckle a few times, but mostly I was amused when I was expecting some side splitting comedy. Not for me though I admire its technical proficiency. B
Comme Picasso qui nous a fait prendre conscience que nous avions un nez au milieu du visage, Tati nous a fait prendre conscience que nous sommes avant tout des corps dans un espace. Playtime est l'aboutissement logique de sa vision du monde, ce regard à la fois suspicieux et amusé qu'il pose sur la modernité. C'est un film inépuisable, indispensable pour comprendre ce monde dans lequel on essaie de vivre.
The amount of work that must have been done to get this level of detail in such a huge setting...it's mind-boggling. I would damn near have a heart attack making this movie. I wouldn't know how to begin. Jacques Tati succesfully creates a living and breathing European city that's lively during the day and filled with energy by night. By the way, this is while having next to no dialogue. Absolutely well done.
Somewhere in the heavens, Charlie Chaplin looked down on Playtime and smiled.
If ever there was a movie made for multiple viewings this is it. As a first time watcher of Playtime I found the experience wonderfully overwhelming. Tati takes everything he'd set up from the previous two Hulot films and ramps it up by a factor of ten.
The movie is wonderfully constructed and very funny - sometimes laugh out loud and sometimes more internally. Yet it also contains the same underlying Scouring of the Shire sadness that was in Mon Oncle
This is pure eye candy.
I don't even know where to begin with this movie.
I guess I'll start with the visual gags which are bar none some of the best I have ever seen in a film. With multiple gags happening at a time which honestly lends so much credit to Tati as director. There is just so much happening at once that it comes down to the viewer to determine what important information is presented to us.
The thing that struck out to me the most in this film, which ties into the multiple gags, is just the masterful ensemble direction in this film, nothing on screen is accidental, every random extra in a way is carrying out…
A conversation with a really beautiful woman but she doesn't have anything really interesting to say
Eine Zukunftsvision der Vergangenheit vor dem Apple(TM)-Weiß, die auf gängige Erzählmuster verzichtet und wie ein riesiges in mehrere Schauplätze aufgeteiltes Wimmelbild auf mich wirkt. Ein Wimmelbild mit kleinen Geschichten, die mit vielen Gags komplett visuell erzählt werden. Ungewöhnlich und deshalb so gut.
That felt like the longest 2 hour film I have ever sat through. This is a truly tedious film that could easily have lasted 20 minutes or five hours and still told the audience no more or less. There are some interesting visual flourishes that lifted this to a 3 star instead of a 1, but that is no excuse to waste your time watching it.
Go watch any Mr Bean film or TV episode instead!
All the films from all the editions, including those subsequently removed, presently totalling 1187. An easy way of seeing how…