A list of Edgar Wright's favorite 1000 Movies per his list on Mubi on July 27th, 2016.
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,…
"Come on girls, looks how modern it is, they even have American stuff!"
This film definitely wears a little thin after the hour mark but the way it laughs at the modernizing, globalized world is a joy to watch. The stand out aspect for me is the cinematography and the art direction. Say anything you want about this movie, but realize that you're not going to find a film much better looking than this.
It's pretty good up until the last 45 minutes that just drag out and aren't funny. Great production design, choreography, and cinematography though.
one of those expensive epics that isnt a waste of time and money
I didn't see it's greatness.
Jacques Tati said of Playtime that the film is about straight lines becoming curves.
Whether straight or curved, every line, every composition, every towering piece of set design trickery in Playtime is utterly mesmerizing. Rivaling the works of Chaplin and Keaton, Tati's thematic, cinematographic, and choreographic undertakings in his penultimate feature are so densely packed into each deep focus 70mm wideshot that viewers are at a loss for what to look at. Constructing a maze-like, modernist version of Paris and then unleashing his infamous Monsieur Hulot upon it, Tati's busy compositions are purposefully confounding. Like Hulot, the viewer is lost among an unfamiliar world, uncertain of its regiments and momentum. Hulot simultaneously marvels at and is complexed by restrictive, partitioned…
Incredibly designed film. Only a true master like Tati could orchestrate what he can in the frame.
Never have I laughed so hard with a brow so high.
There's a turning point in the last half hour of Playtime which brings some of the most transcendent cinema I've ever seen. When the elitist restaurant becomes a playground for humanity, it's clear that the world these people occupy is only so cold because they view it in that way. Tati is saying to us that the joys of living come when all barriers, whether physical or metaphorical, are removed.
Any slight boredom during the middle act of this film is forgiven with this ending.
Here, Tati is at his most ambitious as he attempts to give a monumental warning to humanity about progress and modernity while encouraging us to prioritize the people in our life over the technology.
His message is even more relevant today than it was 50 years ago and that certifies this film as a classic in my book.
I will probably add more to this in the future where I'll focus on the technical aspects.
Oh hey, this is still a perfect film that seems impossible to have come from the mind of one man. But it did. We should all dream so big.
Films where their style fills the screen so absolutely, substance is but an afterthought.
Only added some that I've seen,…
This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…