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…
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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.
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…
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…
Jacques Tati's 'Playtime' is a visual treat for the eyes and one of the densest films I have ever seen. It will undoubtedly take multiple watches to take it all in but for a 2 hour film with no true narrative this is a delightful watch. While I rarely found the visual gags to be laugh-out-loud funny, 'Playtime' is consistently amusing and uplifting. The different visual tricks are often highly inventive and Tati's ambitious vision of a modernised Paris is commendable. Tati uses sound to focus our attention on particular events in each scene but you could easily scan the background to find more in his film. Each scene is densely packed full of small visual treats.
The longer the…
It's easy enough to say that a film "creates its own world", but this is one of the few that actually does so; its Paris is not the real Paris, its edits are its own, its camerawork and lighting completely unique. This is the logical culmination of Tati's art: having already created a world that eschewed close-ups, plot and other traditional forms of cinematic "involvement", it was only a small jump to a world where the set design was itself the character, the "actors" so faceless they could, in fact, be replaced with cardboard cutouts (as they are in the background of a couple scenes). This is one of those awe-inspiring films, like 2001, Au hasard Balthazar or Come and…
A truly wonderful Tati. This movie was shown to me as an example for possibilities of sound design in filmmaking. It has rocked my world and opened my ears to the infinite possibilities of using sound as a whole new dimension.
Tati's precision in the cutting, rythm and movement makes this film a complex and unique masterpiece.
So awesome. Everything about the cinematography and mise-en-scène is fantastic (of course), but I really love the way Tati takes his time. Everything just slowly escalates until you are in the middle of the restaurant sequence and things are just going nuts.
Another marvellous film from Jacques Tati.
This one will keep a smile on your face for the whole runtime; there is always at least one joke ongoing, as well as a few gags every minute as Mr. Hulot wanders around a modern Paris.
And that restaurant scene - incredible and hilarious.
Cool sets, but what was the point of this?
Would have been much better if there was an actual plot and characters.
A whimsical fantasy any director wishes would be theirs.
Playtime is nothing less than one of the most brilliantly put together films of all time. It is a labyrinth of comedy, humanity and moments of discovery. As we follow this one man through the streets and buildings of Paris we must find the smaller things that make us who we are.
There are many themes touched on throughout the film: The importance of the recognition of beauty, the collective connection through laughter and the mazes we go though to reach a destination we might not have meant to reach but are better off because of it. When put into perspective, this film very much does what Synecdoche, New York is…
Whimsical satire of modernity.
Playtime is able to pack more instances of visual comedic brilliance in to a single frame than other comedies are able to do in their entirety. The use of reflections alone would make all of Playtime's acclaim justified, but those are but brief moments in what could likely be classified as a tapestry.
But even when Playtime isn't concerned with jokes, it's still a visual marvel. There's an attention to detail here that's second to none, and the environments that the characters find themselves in registers the film as practically two hours of architectural pornography. Playtime isn't just a hilarious film, it's a beautiful one. For every laugh there are ten moments of visual elegance, within them an eye for…
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…