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…
2nd viewing. It now occurs to me that this may not be the best Jacques Tati film to start off with if one decides to explore his filmography, and this is mainly because this movie is so extremely odd. It's the sharp, finished result of a pencil Tati had been sharpening for over a decade, and in that time he jettisoned plot, characters, and very nearly his protagonist, M. Hulot himself. It's so defiantly untraditional that it's not even traditionally funny -- less set-up and big payoff (it's more subtle set-ups and continuous little payoffs) and more amusing observations, eliciting chuckles while keeping a smile on your face. There are parts I'm not even sure we're supposed to laugh, such…
I wanted to check this out after seeing some stills from the office scenes that just felt like a punch to the face of beauty. They made me expect a pretty but skeptical vision of coporations, I didn't realize this was essentially going to be another Hulot movie - albeit with some of the greatest visuals imaginable. I'm really not into Tati's stick, and I only found myself occasionally amused by those antics. But there are worse things to look at for two hours.
Museum of the Moving Image, Queens, New York (in 70mm), with Annie S. maybe?
This is a film that is a product of its time. If that's the case I would have rated much higher. Still a lot of funny things happen in the chaotic world of silly 1960s modern technology. The modernist city architecture for me though is pleasing to the eyes.
This film is without question a comedic masterpiece. What seems so forgotten in modern comedy is alive in spades here; style and production. The mise-en-scène of practically every shot and beat in PlayTime are unparalleled in my viewing experience. The performances, while quite good, are almost an afterthought next to the sheer impossibility of the staging, timing, direction, cinematography, and ballet like choreography and elegance of this film. After a few more viewings -on much larger screens- this might end up being my favorite film of all time.
Glad I watched it; don't want to watch it again.
Mesmerizing. Wes Anderson must've crapped his pant when he first saw this. Amazing choreography and depth of field.
First time watch and first Tati film, so a theatrical viewing was a must. Playtime is an assault on the senses both visually and audibly and is quite the masterpiece. The narrative is non conformist, while nothing happens at the same time everything happens. Your eyes never leave the screen as the journey from day to night and night to day plays with your senses. A modernist fantasy which plays out like a dream. Fantastical set pieces, comic timing, sly humour and perfect framing - The colour just pops. Overwhelming at times but never a struggle. Wow!
As someone who values story above all, this film was intensely, intensely boring. It has the feel of Buñel or Andersson but without the wit or darkness of either. Humor might not translate across the years (as Family Guy recently ironically put it "Nothing will ever be funnier than misunderstandings!"), or this may just not be my kind of humor, but I hated this movie. Flat-out hated it.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- 12 Angry Men
- 2001: A Space Odyssey
- 25th Hour
- 3 Women
- Only God Forgives
- Fear and Loathing in Las Vegas
- Spring Breakers
- A Field in England
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…