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93% buy the item featured on this page: Les Vacances de M. Hulot [DVD] [1953] £14.48 |
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2% buy Mon Oncle [1958] [DVD] £12.48 |
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Amazon.co.uk Review
Forefather of Rowan Atkinson's Mr. Bean, Jacques Tati's Monsieur Hulot--a recurring character in several of his movies--is a blithely clumsy troublemaker, an insouciant twit who leaves uproar in his wake without being aware of it. Trying to describe this 1953 comedy is next to impossible except to say it is a series of vignettes at a vacation resort, with the distracted Hulot providing a lot of laughs. Tati directs, and in a way what that really means is that he composes this movie with a perfect eye and ear for the comic possibilities in everything: composition, lighting, minimal marble-mouth dialogue, certain sounds (a duck call, a door repeatedly opening and shutting). This is a superior work that ranks among all-time classic comedies. --Tom Keogh
Synopsis
Jacques Tati, master of his own idiosyncratic genre of cinematic slapstick, followed up his acclaimed debut JOUR DE F-TE with the equally ingenious MR. HULOT'S HOLIDAY. Five years in the making, the film marks the debut of Tati's altar ego, Mr. Hulot, a gangly and awkward Frenchman, perpetually the center and possible cause of a whirlwind of disasters, pratfalls, and mishaps. Tati's scrupulous attention to detail and almost arabesque sense of humor colors the entire film, from the departure of a gaggle of tourists from a malfunctioning train station to the minutiae of resort life. In place of a plot, a series of disastrous coincidences, surreal sight gags and irascible indignations erupt around Mr. Hulot as he gallantly and obliviously strolls through his seaside vacation. While he tries to impress a lovely ingenue, Hulot inadvertently barges in on a funeral, ignites a fireworks stand with his pipe, and topples a Ming vase, rarely realizing the extent of the damage he causes. Tati expertly crafts the visual bombast of traditional slapstick into a beautiful and intricate sequence of incidents, accompanied by an equally elegant and intriguing seaside soundtrack of lapping waves, laughing children and transistor radios, all merging into an absurd symphony of cinematic delight.
Forefather of Rowan Atkinson's Mr. Bean, Jacques Tati's Monsieur Hulot--a recurring character in several of his movies--is a blithely clumsy troublemaker, an insouciant twit who leaves uproar in his wake without being aware of it. Trying to describe this 1953 comedy is next to impossible except to say it is a series of vignettes at a vacation resort, with the distracted Hulot providing a lot of laughs. Tati directs, and in a way what that really means is that he composes this movie with a perfect eye and ear for the comic possibilities in everything: composition, lighting, minimal marble-mouth dialogue, certain sounds (a duck call, a door repeatedly opening and shutting). This is a superior work that ranks among all-time classic comedies. --Tom Keogh
Synopsis
Jacques Tati, master of his own idiosyncratic genre of cinematic slapstick, followed up his acclaimed debut JOUR DE F-TE with the equally ingenious MR. HULOT'S HOLIDAY. Five years in the making, the film marks the debut of Tati's altar ego, Mr. Hulot, a gangly and awkward Frenchman, perpetually the center and possible cause of a whirlwind of disasters, pratfalls, and mishaps. Tati's scrupulous attention to detail and almost arabesque sense of humor colors the entire film, from the departure of a gaggle of tourists from a malfunctioning train station to the minutiae of resort life. In place of a plot, a series of disastrous coincidences, surreal sight gags and irascible indignations erupt around Mr. Hulot as he gallantly and obliviously strolls through his seaside vacation. While he tries to impress a lovely ingenue, Hulot inadvertently barges in on a funeral, ignites a fireworks stand with his pipe, and topples a Ming vase, rarely realizing the extent of the damage he causes. Tati expertly crafts the visual bombast of traditional slapstick into a beautiful and intricate sequence of incidents, accompanied by an equally elegant and intriguing seaside soundtrack of lapping waves, laughing children and transistor radios, all merging into an absurd symphony of cinematic delight.
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