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Most Helpful Customer Reviews
35 of 36 people found the following review helpful
Jacques Tati's final outing as Monsieur Hulot - the amiable, accident-prone and unfailingly courteous exile from a more graceful era of unhurried old-world charm - sees him employed as a draughtsman in a car firm whose newest model, an absurdly multi-gadgeted camper-van, is destined for the Internationale Autoshow in Amsterdam. Hulot, along with pressed Public Relations lady Maria and bobble-hatted truck driver Marcel, set out for the show, but breakdowns, accidents and extended garage stays ensure that they will never arrive in time, leaving salesman François to guard their empty stand of fake birch trees, while all around him, men peer into the bonnets and boots of competitors' cars.
Beginning with the dull clang, spark, burnish, buzz and hum of an industrial car plant, this satire on man's obsession with motorised transport, and the change people undergo as soon as they get behind the wheel of a car, has wonderful observational comedy at its heart. As ever with Tati, this is sometimes of such subtlety that repeated viewings are richly repayed. The set-pieces are famous - the extravagant, injury-free pile-up, the windscreen wipers acting in character with their drivers - but it's the smaller, easily missable details that give Tati's universe its character: details such as barely visible car aerials wobbling in time while waiting at a light, or Maria's dog simply watching traffic from her car.
If the surge and blare of road noise that occupies the soundtrack screws the humour up to a level that is coarser than in previous Tati films, then its central theme of Hulot looking for a little human warmth and respite from technology is familiar. He finds it in an extended stay at a riverside garage where the characters apparently forget about reaching the Autoshow altogether, settling down instead to a good picnic, and thus putting the camper-van to its use.
At the end, Hulot disappears - how else? - into a crowd of unfurled umbrellas, leaving pedestrians to squeeze their way through an immense parking lot of boxed-in cars, and viewers to continue Tati's work of seeing the world anew.
Beginning with the dull clang, spark, burnish, buzz and hum of an industrial car plant, this satire on man's obsession with motorised transport, and the change people undergo as soon as they get behind the wheel of a car, has wonderful observational comedy at its heart. As ever with Tati, this is sometimes of such subtlety that repeated viewings are richly repayed. The set-pieces are famous - the extravagant, injury-free pile-up, the windscreen wipers acting in character with their drivers - but it's the smaller, easily missable details that give Tati's universe its character: details such as barely visible car aerials wobbling in time while waiting at a light, or Maria's dog simply watching traffic from her car.
If the surge and blare of road noise that occupies the soundtrack screws the humour up to a level that is coarser than in previous Tati films, then its central theme of Hulot looking for a little human warmth and respite from technology is familiar. He finds it in an extended stay at a riverside garage where the characters apparently forget about reaching the Autoshow altogether, settling down instead to a good picnic, and thus putting the camper-van to its use.
At the end, Hulot disappears - how else? - into a crowd of unfurled umbrellas, leaving pedestrians to squeeze their way through an immense parking lot of boxed-in cars, and viewers to continue Tati's work of seeing the world anew.
6 of 6 people found the following review helpful
I have watched "Trafic" probably 20 or more times over the years - each time I see something I missed before. Every frame is full of easily missed deliberate diversions that you can't help looking for. Like all Jacques Tati films it is mesmerising - his subtle and not so subtle observations about human nature and the sheer brilliance of his directing make this a "must see" for lovers of comedy and farce. M Hulot is a cross between Mr Bean, Charlie Chaplin and Lucille Ball and better than all three. My favourite scene is "the crash".
5 of 5 people found the following review helpful
Having been an avid fan of Jacques Tati's work for a number of years now I cannot figure out why this gem of a movie does not seem to be available with any of the box sets around. For those of you who, like me, wish to own all his works buy this now - you will not be disappointed at the combination of timeless slapstick in a class of its own and that special Monsieur Hulot surrealism. Trafic and Playtime watched in close succession make for such wonderful viewing and should be compared to the classics.
Viva Jacques!
Viva Jacques!
Most Recent Customer Reviews
TRAFIC
THE DELIVERY OF THIS PRODUCT WAS VERY QUICK. iT WAS A PRESENT AND THE RECIPIENT WAS VERY PLEASED AND ENJOYED IT IMMENSLY CAN'T WAIT TO WATCH AGAIN AND AGAIN
Published 3 months ago by izzy
A reminder of old times
The item arrived in tact and on time. The DVD was very appreciated - it brought back many memories of the time we went to see the film in London - lots of laughs!
Published 4 months ago by Torquay Jan
Better than Playtime
Trafic is the last film to feature M.Hulot and possibly Tati's last feature film.As such it's a must for Tati fans.For others I'm not too sure. Read more
Published 7 months ago by Cyclist1
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