Playtime [1967] [DVD]

 

 

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Why was Playtime a failure, sending Jacques Tati into bankruptcy and costing him control over his life's work of films? His previous film, My Uncle, had been a commercial and artistic success. M. Hulot's Holiday and Jour de Fete had gained Tati world-wide recognition and respect. He had become recognized as one of the few authentic geniuses of film.

Watch Playtime and I think you'll find the answer. Tati in his earlier films placed Hulot in situations where we could empathize with him. Hulot was an innocent. As we came to like him, we also came to like the people he encountered. Even with their pretensions and idiosyncrasies, we could see something of ourselves in them. Tati might be holding up a mirror for us to look in, but M. Hulot was such a gentle companion that we smiled as we recognized ourselves.

With Playtime, there is little Hulot. Instead, we have Tati's view on all sorts of social and cultural issues, from the sterility he saw in much of modern life to modern architecture, group behavior, impersonal offices, loneliness, boorishness and American tourists. We're observers, and our job is to share Tati's viewpoint. Hulot, now middle-aged, has become a minor player in the film. In his earlier movies, Tati was careful to give us small numbers of people with whom, along with Hulot, we could come to know. In My Uncle, for instance, it was essentially one family and one modern home, along with Hulot's own apartment and his neighbors. In M. Hulot's Holiday, it was a small seaside hotel and its guests. With Playtime, we have a large, impersonal office building, all glass and right angles, filled with people -- employees, visitors, exposition guests, customers. Then we have an apartment building with huge curtain-less windows allowing the pedestrians to look right in, and we're among the pedestrians. Then we have a nightclub filled with customers, waiters and managers. There is little opportunity to get to know any of these people, much less develop affection for them.

However, as with all his movies, Tati fills Playtime with streams of intricate and carefully developed comic situations (although comic is too broad a term), often that build from small happenings we've barely noticed. There is only sporadic and incidental dialogue, but sound effects are vital to the movie, as subtle and amusing as what we see.

As sterile and unattractive as Tati makes the airport, the office building, a convenience store and the apartment, there are such odd and subtle sights as the bobbing wimple wings on two nuns, a floor sweeper staring at a booted officer, Hulot suddenly sliding down a floor, glass windows and doors impossible to tell if they're there or not, a table lamp that dispenses cigarettes, strange-looking and wobbling food at a self-service counter...and the list simply goes on. And it's not just one thing at a time. Tati can fill a screen with all sorts of amusing occurrences, some happening in the foreground, some in back, some at the sides.

The last hour of the movie takes place in a modern nightclub, the Royal Garden, which has just opened and is barely ready for its customers. A dance floor tile sticks to a maitre d's shoe, a fish is ostentatiously finished table-side by a waiter...then finished again and again by mistake while the two customers ooh and ah. A bow tie falls in the sauce. A bus-load of tourists suddenly appear. When Hulot manages to accidently shatter one of the glass doors to the restaurant, it is a culmination to all those glass walls we've been looking through and walking into. The follow-up gag with the round door opener is almost worth the price of the DVD. As the modern restaurant gradually disintegrates around us, Tati finally begins to ease up on personal viewpoints and let's us simply enjoy the sight of people becoming more like people. And that, I suspect, is the point Tati wanted to make. In an odd sort of way, the last ten minutes evoke the humor and warmth of previous Tati movies...a packed traffic circle with all the cars moving slowly together; a father taking a toy horn from his little boy and blowing it, too; the bittersweet last look at Hulot walking past a bus where a young woman he met at the nightclub is being taken to the airport with her tourist group.

If you like Tati's viewpoint on the impersonalization of modern society, you'll probably like Playtime. Some critics call it his masterpiece. If you like Tati, I think Playtime is essential, if only to understand what happened to him. The movie is an idiosyncratic and gallant failure, in my view, and much too long. Still, I'd rather watch Playtime than most of what passes as genius in films today.

Misunderstood and occasionally unappreciated ever since its initial 1967 release, Tati's visionary masterpiece is now an undisputed classic. The hallucinatory, hypnotically strange modernist vision of a barely recognisable Paris is quite simply amazing. Hugely influential for its use of space, architecture and Tati's amazing ability to mine subtle observational humour out of literally 'nothing much going on', this visually beautiful film is a must for all film fans. It is also an object lesson to all aspiring filmmakers and critics alike on the use of sound in the cinema.

Tati show us how most definitely less is more, in visual and aural terms. He makes every single second of screen time count. This is incredibly difficult to achieve, yet Tati manages it all with effortless grace and dexterity, all the while charming and amusing us with the immortal Mr. Hulot's hilarious physical comedy. The French Buster Keaton? Why not; they both share an innate genius for visual and physical comedy, and the intuitive appreciation of cinematic space, which few directors, living or dead, ever fully understand. Whenever I see this movie I am reminded of Time Out's famous review of Leone's Once Upon A Time In The West (1968), which (I admit I am paraphrasing here) goes something like "The only critical tools you need are your eyes and ears: this is cinema!" How true and so apt of Playtime.

Tati's alter ego, the ever polite, angular Monsieur Hulot, is let loose on a Paris dominated by modern offices, pristine glass surfaces and scurrying, over-officious French nine-to-fivers. Whether filming the shimmering space of an airport lounge and check-in area in a hilariously evolving sequence shot in one long take, or bumbling in and out of a new office building's reception area, where the automatic doors emit one of the funniest sound FX in cinema, Tati's distanced, observational humour of life in all its idiosyncratic charm is constantly surprising and always very, very funny.

Although the film's use of the wide screen and frame works so well up on the big screen, it will paradoxically work equally well on DVD. Here the 'audience' i.e. me, you, the dog, and the sofa, will just as readily appreciate the details and hilarious little asides Tati inserts in almost every shot and frame, which are easily missed at a single viewing.This movie rewards multiple viewings and DVD is undoubtedly the vehicle for that. In fact, I would go as far as to say that the Big Guy of Cinema must have had DVD in mind when he thought of PLAYTIME, as this is one of those classics which you will want to see again and again, and not get bored doing so.

Before I wax over lyrical about Tati and PLAYTIME, one last paragraph on the film's famous closing 35 minutes or so. Watch it as it unfolds, simply, beautifully and in one long sequence, and ask yourself this question: is there a funnier, more charming or beautifully observed and directed closing sequence on film? I hope your answer will be a resounding 'NO!'...

In this film Tati pokes fun at our obsession for all things modern and gadgetry. Once again Tati's comic genius shines through in his sharp observations of our modern world with the assistance of a coachload of American tourists visiting Paris. The scene in the neawly opened restaurant that is not quite finished is really a gem especially the commissionaire opening a non-existent glass door to customers after it has been smashed. Sharp observation of people throughout the film which is a little overlong but stick with it, it is definitely worth it.

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3.0 out of 5 stars I just don't get it
I'm sure everybody enjoys actual playtime, but don't think this movie is for everyone. It's long, experimental, and can be quite a chore to get through. Read more

Published 6 days ago by Inspector Gadget

5.0 out of 5 stars Magnificent Release of a Magnificent Tati
Well the BFI have done it again. Along with the Eureka MOC series we are really being spoiled at the moment and Jaques Tatis' Playtime is a more than worthy addition to my, or... Read more

Published 10 days ago by hell-oh-kitteh

5.0 out of 5 stars Staggering Achievement
Bless my father for showing me 'Les Vacances de M. Hulot' when I was barely into my teens and shame on me for waiting nearly 20 years to discover the rest of Tati's films. Read more

Published 13 months ago by Simon Morgan

4.0 out of 5 stars Playtime - one of Jaques Tati's masterpieces
It is about thirty years since I watched any Jaques Tati and I resolved to put that right by buying three of his masterpieces. Read more

Published 16 months ago by Bignoides

4.0 out of 5 stars The orignal Mr. Bean surely.
I bought these films for my husband and he loves them. Very gentle comedy with language no barrier. Our youngest son (13) thought they were funny too.

Published 18 months ago by pegleg

5.0 out of 5 stars Cinema as an all-encompassing experience
I have read some of the other reviews here of Jaques Tati's Playtime. Most of the reviews seem to be lukewarm at best (even the positive reviews being a bit guarded) with a few... Read more

Published on 1 Jan 2010 by Cambridge Man

2.0 out of 5 stars Great presentation, disappointing film
This BFI DVD of the 126-minute restoration (actually 125mins - a full minute is taken up with restoration credits) of Tati's monumental box-office failure is fairly impressive... Read more

Published on 17 Oct 2004 by Trevor Willsmer

5.0 out of 5 stars A masterpiece (but maybe not Tati's best...)
It's been a long wait for a decent region 2 release of this movie by actor/director Tati. It's not is most accesible work (Les Vacances de monsieur Hulot/Mister Hulots Holiday is... Read more

Published on 1 Oct 2004 by Yovra

5.0 out of 5 stars brilliant critique of modernist architecture
Not sure about the one previous critique of this negelected masterpiece. Sure, the film oozes with 60's style and rhetoric - which may seem faded to some watching the film today... Read more

Published on 14 Jan 2004

3.0 out of 5 stars For the Tati enthusiast only
A sophisticated and understated film. There are a few sublime moments, built from virtually nothing. The man on a bus with a standard lamp which is mistaken for a handrail. Read more

Published on 10 Nov 2000 by J. C. Darley

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