HAVE ANYONE SEEN THIS? DIRECTED BY SYLVAIN CHOMET OF TRIPLETTE OF BELLVUE.
Dave Kehr in the NY Times :
“I was really thinking, ‘I hope this is a bad script,’ ” Mr. Chomet said, “so I could find a reason why I couldn’t do it and move on to another project of my own. But I just read this simple script, with its beautiful story that was very similar to an autobiography, and I fell in love with it. It moved me so much I said: It can’t just stay like this. It needs to come to life.”
This will be opening on Friday. I didn’t care for Triplets of Belleville, but I wondering if anyone thinks I should see this.
I didn’t love Triplets either, but this was great! And sad-ish ] ] ] : See it, Jazzzz. Lovely animation. One of the very, very few (and by ‘few’ I mean literally three) 2010 releases I actually enjoyed.
You’re convincing me.
It is a lovely quiet little movie, more like early MON ONCLE era Tati. Similar to TRIPLETS in some ways, but a lot gentler, and not as gimmicky or grotesque. The hand-drawn watercolor look of the film is entrancing. It might take a little while to adjust to the movie’s very slow rhythms, but once I did I found myself engaged and moved. I liked it a great deal.
I don’t want to get too specific about the plot or other details, as I think part of the pleasure of the movie is the discovery — finding the little details they’ve managed to work into the film.
If I could watch one new movie, it would be this one. It gets me hot just thinking about it. Animated JACQUES TATI!!!!!
Mahalo! I’m glad you convinced me because I really liked this (80/100)! Very few 2010 films satisfied me, and, like you, this was one of the few that did.
Here are some remarks to those on the fence or lukewarm about seeing the film:
If you didn’t care for Triplets of Belleville, don’t let that stop you from seeing the film. Samantha and I both didn’t care for “Triplets” but we both really liked this. However, unlike Samantha, I didn’t love the animation—which is very similar to “Triplets”. To me, the animation techniques look a little cheap and shoddy—like something you’d see in a 70’s animated TV movie. Well, I liked the animation more than a lot of the types of films I’m thinking of.
This is really a Tati-Hulot film than a Chomet film, imo, so if you like Tati-Hulot, you should consider seeing this. Also, I was skeptical that an animated version of Hulot would work—and while I still would have preferred a live action film with Tati—the animated version of Hulot worked fine. Finally, let me say that of the four Hulot films I’ve seen, this is my favorite. I really loved the script and theme in this film.
If any of you really liked the silent sequence in Pixar’s Up! and wished someone would make an entire film in that style, this might just be the movie for you.
Having said that, I’m not sure children would really like this film. It is a Tati-Hulot film as a I said and the themes will resonate more with adults. Maybe pre-teens might have the best chance of liking this.
Some other comments (that might contain spoilers):
While some people really like Chomet’s animation, I think Pixar would have been better; it would have been a homerun. (In many ways, this touches on somewhat similar themes to Toy Story, and I would say it is better than the 2nd and 3rd versions.)
I also think that Jean-Pierre Jeunet (and Marc Caro) would have been perfect for this—making the film in the style and look of Delicatessen—especially if Dominque Pinon could have played the lead. (In that case, I’m not thinking that Pinon would try to be Hulot, but that they would modify the script for a different character.) I think this idea has merit, and I’d be interested in seeing this.
Man, I really lost it—as in weeping—in a couple of scenes. I really loved the scenes in the Scottish village, but when the Scottish man gives Hulot a heartfelt hug, I lost it. The gesture conveyed such a sense of joy and appreciation for the simple magic that Hulot brought. It really moved me.
The other scene comes at the end when we see the words, “Magicians do not exist” on the card. I knew some sort of revelation for Alice would happen, but even knowing this didn’t prevent from being really moved. With growing up comes the loss of magic.
I loved the fact that this was essentially a silent film (I guess, like all the other Hulot films). However, none of the other Hulot films I’ve seen were as moving (although this one may not be as funny or delightful—in that Hulot sort of way).
A negative comment. Like other Hulot films, I find that there are dead spots, where the film loses energy and the film drags. There was some of that in this film, too; but not so much that it really hurt the film, imo.
Thanks again, Samantha! This made my day!
I’m curious to know the details you noticed and liked.
I’m so glad you enjoyed it!
A few of us were just discussing the film on Facebook and I just read the letter from Tati’s disapproving grandson. Here it is if you’d like to check it out: http://blogs.suntimes.com/ebert/directors/the-shame-of-jacques-tati.html Comments too.
Very sad story behind the original script, but I don’t agree with their feelings toward Chomet’s adaptation. I don’t know about how he got a hold of the script (seems a bit dodgy), but I think the film is beautiful.
Further reading: http://www.jonathanrosenbaum.com/?p=24181
And about the animation — they had Tati’s mannerisms down pat! Was so neat to see. And detailwise — there’s one scene where they’re painting a soap ad and as the paint dries it goes from dark to light almost imperceptibly. I live for that shit.
I didn’t like Triplets and I liked The Illusionist, though at some points in the middle I got a little bored. I like the sort of films that you can fully understand without subtitles even if you don’t speak the language.
though at some points in the middle I got a little bored.
I skimmed through the letter. I don’t know what to think, but my sense is that the grandson has a lot of resentment towards Tati—specifically bad things that Tati did to his mother/grandmother. While I sympathize with him, I don’t know if the personal sins of an artist really matter too much when it comes to their art—at least not for me. If this was not the case, I’d have to exclude a lot of art I love now.
I enjoyed it. I personally don’t think it comes anything near the films Tati himself did but it was pretty good in its own right.
But this film seemed to have a lot more emotional power than many of Tati’s other films. His other films are charming and delightful and if there’s anything serious about them, they seem to involve a critique of modern society, a critique which hits one’s funny bone and mind. This film does that, too, but it also hits the heart, more so than the other films (at least from what I can recall of the other Tati films I’ve seen).
Well, it was his most personal script…
Easily the best movie I saw of 2010.
It’s a personal taste thing of course. Tati’s films (especially Playtime, Hulot’s Holiday, & Mon Oncle) hit something special for me more than just my “funny bone and mind”. But certain people resonate with certain films more than others.
Yes, absolutely. :) Have you seen Traffic? (I haven’t seen that one yet).
Yeah I have. I really enjoyed it, but it’s probably because I just love Tati’s style and ideas. It’s not up there with the “big 3” I mentioned in my previous post, but it’s worth a certainly watch if you’ve enjoyed his other films.
Here’s how I would rank Tati’s features, best to worst:
Hulot’s Holiday & Mon Oncle
Jour de Fete & Trafic
The trailer looks stunning and I think it came out on DVD last week so I’ll have to check it out, I loved the visual style of Belleville Rendezvous
It’s great. Pretty Tati-esk.