Slapstick prevails when Jacques Tati’s eccentric hero Monsieur Hulot is let loose in the ultramodern home of his brother-in-law, and in an antiseptic factory that manufactures plastic hose. Tati directs and stars in the second entry of the Hulot series, a delightful satire of mechanized living. —The Criterion Collection
Filmmaker and actor Jacques Tati reinvented the art of slapstick comedy, expertly dissecting the nature of sight gags and pratfalls while exploiting viewer expectations to create an ambitious, richly detailed cinematic parlor game perfect for exploring the infinite mysteries of the modern world. Born Jacques Tatischeff October 9, 1908, in Le Pecq, France; Tati mounted his first film short, the comedy Oscar, Champion du Tennis, in 1931, but never saw the project through to its completion. His subsequent early work, including 1934’s On Demande une Brute, 1935’s Gai Dimanche, and 1936’s Soigne ton Gauche, presaged his later features in their fascination with natural and mechanical sounds. The outbreak of World War II, which he spent stationed in the village of Sainte-Sévère-sur-Indre, brought Tati’s career to a temporary halt, and after completing the 1938 short Retour à la terre, he did not appear before the camera again prior to Claude Autant… read more
The opening of Mon Oncle bares its thesis: the vitality, innocence of the old arrondissements - frolicking puppies, horse-drawn carriage - against the cold, mechanised life of the modern bourgeoisie, consumer conformism (strikingly realised). Tati, like Chaplin - one behind Modern Times - mayn’t always be hugely subtle, but his charm remains sizeable, in his irreverent, wordless interactions and orchestrated chaos - thus turning his hopeless Luddite into a loveable one. To the Parisian comedy what An American in Paris was the musical: nostalgic effervescence; sheer breeze.
As Pierre Etaix’s films finally get shown in the US, a look at Etaix’s illustrations for Jacques Tati and at the posters for his own films.
An exclusive look at the brand new poster for Kaurismäki’s Le Havre, as well as some other updates from the New York Film Festival.
Pierre Étaix is back! The writer-director-star, a disciple of Tati but very much his own clown, has been released from a kind of purgatory.
"Combining artistic vision with scientific analysis, Muybridge showed how an image that paralyses motion can catch the fluency of phenomena
With Movie Poster of the Week mastermind Adrian Curry on vacation this week, we thought we'd give a little homage to some of the films from
Watched this on Mubi in preparation for seeing The Illusionist. There were no subtitles provided, so I watched the movie as if it was a silent film. From what I understand about Tati any dialog that… read review
Tati’s fascination with modern rituals, technological functionality, and the ever-widening divide between traditional and contemporary living is here turned into an ingenious series of disorderly situations… read review