Playtime (1967) - Updated

Playtime is a film that really can be broken into a number of set pieces elaborately constructed by director Jacques Tati. The vignettes begin surprisingly enough in an airport terminal and a group of excited Americans are getting ready for a Parisian vacation. Mr. Hulot (Tati hmself) is waiting to have a meeting in a glass office building, however, he soon gets lost in a maze of cubicles, playing cat and mouse with his contact.

 Quite by accident he wanders into an international trade exhibition and the tourists just happen to be there too. While there they are introduced to the latest gizmos, gadgets and inventions to move society forward. They include silently slamming doors and retractable glasses. In typical Tati fashion he gives us a glimpse of the old world from Mon Oncle. All that is left is one meager flower stand and a brief reflection of the Eiffel Tower.

Bumping into an old war buddy, M. Hulot is invited over and thus begins a long sequence in an apartment building. What makes it unusual is that the audience is left out on the street, but we can see multiple interiors through the glass. Thus, the conversation becomes unimportant and the charades inside paired with the street noise is all we notice.

One of the most substantial sequences takes place in a restaurant called the Golden Corkscrew. It is a packed house and the nightclub barely seems prepared for such an evening. Tiles are loose, food runs out, a band member comes late, the chairs leave marks on the backs of patrons and much much more. Hulot stumbles in and comes in contact with several previous acquaintances. He also makes a few new friend including a boisterous American and a friendly female tourist.

After the crazy night, the morning comes and Hulot says goodbye to his new American friend but not before leaving her with a parting gift to remember her memorable time in Paris. It may not be the Paris of old, but it is still a cheery place made by its people who still remain the same even when the times change.

Jacques Tati's Playtime took numerous years to complete and it was the most expensive French production at the time. It makes sense though because it truly is a magnificent piece of cinema. It is full of beautifully choreographed sequences and elaborate sets. Mr. Hulot often finds himself wandering through this labyrinth of modern Parisian humanity. Tati teases us however, filling his world with Hulot doplegangers.

Even when the gangly protagonist is on screen, he often pops off and on for minutes on end. He is no longer the primary focus of the film. Tati also takes great interest in the sterile modern society of glass, steel and technology. The screen is filled with a wide array of individuals, which makes it fascinating to simply people watch. Furthermore, Tati almost refuses to use closeups, thus allowing the camera to capture more.

Playtime is slightly slower to begin with than I remember, but it has wonderful subdued humor paired with social commentary. Tati's film may not have a lot of decipherable dialogue, but there sure is a great deal of noise. His sound effects seem to rival The Three Stooges in comical impact, often filling the void usually devoted to talking. It is moments like these where you see similarities to the old silent comics like Chaplin and Keaton.

Playtime is all about the minutiae and these moments are probably exhibited best at the nightclub. So much happens and much of it goes unnoticed, but oftentimes when you pick up on something the payoff is great, because you slowly begin to notice more and more. Tati does not have to announce it, but he puts it there to be seen. For instance, there is the fish that is never served but constantly being seasoned. Then, the doorman who opens the door without any glass. Finally, there is the waiter who gets all the ripped, torn and otherwise ruined articles of clothing. Together all these moments create some immensely funny sequences.

Another thing about Tati's film. There is really no conflict. He is addressing the changing times, but at its heart Playtime is just that. Light-hearted recreation.

5/5 Stars

Playtime (1967)

Starring and directed by Jacques Tati, this film is his most ambitious work yet. The film opens in a Parisian airport with droves of tourists. Then the audience ends up looking into an office high rise full of glass, cubicles, elevators, and escalators. All throughout we observe many characters including Mr. Hulot who seems strangely out of place in this modern, suburban city. He ends up at an international expo, visits a friend's home in the evening, and then ends up taking part in the disastrous opening of a night club. Hulot becomes acquainted with an American tourist before she returns home from her Parisian adventure. At times this film is almost like a giant ballet, with often subtle humor, and a stream of events only connected by the characters they involve. The architecture picks up where Mon Oncle left off, the sets are on a grand scale, and even the clothing of  most of the people seem to fade into this world. This film is also international as well as universal because it is more about the image and sound than dialogue. After it all I was left with a satisfied smile. It may not be for everyone but for me personally it was a joy to watch.

                                                              5/5 Stars

Mon Oncle (1958)

Starring and directed by Jacques Tati, the film revolves around the bumbling but kind-hearted Monsieur Hulot, as he interacts with his relations and young nephew. We follow Hulot as he navigates through his life in France. His sister and brother-in-law live in an ultra modern home complete with automated machines, a fish-shaped fountain, and cold-looking furniture. In contrast, there's the carefree Hulot whose only possessions seem to be his ever present pipe and umbrella. He struggles to cope with everything modern and bungles in his brother-in-law's factory. However, most importantly he seems to enjoy life and he is liked by all including Gerard, his nephew. This film is enjoyable because of the little things. You have the often repeated theme that brings to mind Parisian cafes. There is satire, odd architecture, little dogs, the use of or the lack of sound, many caricatures, and most importantly of all Hulot himself. It would seem to me he bridged the gap between Chaplin and Keaton with Mr. Bean. Too bad more people do not know about him.

                                                          4.5/5 Stars

Mr. Hulot's Holiday (1953)

Directed by and starring Jacques Tati, this is the original film that introduced the bumbling but kindly Mr. Hulot. He finds himself staying at a beach side hotel full of various different tourists. The film is not so much about plot but instead it focuses mostly on Hulot's many antics. Whether he is paddling a kayak, playing tennis, changing a tire on his beat up car, trying to mount a horse, or accidentally setting off fireworks, Hulot is bound to cause laughs. This film is unique because as with Tati's other works the pacing is not fast. That means we are able to relax and enjoy this vacation along with Mr. Hulot. We can take in the many sounds and images while we also watch this likable bumbler. Maybe Tati did not know it at the time but he created a memorable persona in Hulot who has his own distinct movement and attire. Without talking at all he leaves such a tremendous mark. If there was ever an influence on Mr. Bean I think the origins would definitely start with Monsieur Hulot.

                                                              4/5 Stars