There's little argument that Tati's M. Hulot's Holiday, or Les Vacances de M. Hulot, is a movie beyond dispute, a classic by now,
and easy to recommend--unless you can't stand mimes, or quasi-mimes. It's really an unsentimental take on human foibles and the random whimsy
of our environment, both material and human--as well as a visual essay on the sometimes complicated nature of vacations. For me, having grown up on an island, it's probably even more vivid and evocative. There's a sweet nostalgia to it, as day after day washes past, as elemental sea and land meet, as strangers meet and glance off of one another, as we come to know each individual and his or her traits and eccentricities. And then there's tall, loping Hulot, walking through the middle of the film, oblivious to most of the chaos that follows in his wake. But finally, it's probably the longest string of truly inventive sight gags in movies, short of Keaton's best work. It's my favorite of all of Tati's films, before he became a bit more labored in his later work, a bit too self-consciously ambitious and pretentious perhaps. (Though I still enjoy them and recommend them. It's a very small body of work--the work of an obvious perfectionist--and easily worth the time invested.)
This new BFI release is the best transfer of the movie I've ever seen, complete with an insightful featured interview by Philip Kemp with the very articulate, intelligent Richard Lester. Lester actually listens carefully to the questions, thinks about his answers before responding, and you can see him refining his (and our) understanding of the "calmly framed" aesthetic of Tati. I watched the straight HD disc, not having an all-region Blu-ray player, but I don't see how the transfer could be much more detailed or much cleaner than the regular DVD included here. Worth noting, as well, is that this release includes a more generous translation into English of the French dialogue, making this release less of a silent movie and more of a quiet movie. Shot on location at an actual resort in northern France, in documentary style, this is the 1978 re-edit of the movie, one that Tati continued to tinker with from the initial 1953 release until reaching what seems to be the director's final cut of Les Vacances.