A charming first film from Tati, and like a lot of first films, it's more an assemblage of raw material than a masterpiece. But the building blocks of his masterpieces are all here: a self-contained microcosm, man vs. modernity, the nuttiness of technology, a loving eye for people-watching. And getting to see him play a non-Hulot character—in fact, a character who's the opposite of Hulot—is a treat.
Subtler and too gentle in comparison to it's influencers Chaplin and Keaton and not as personable as Atkinson's Bean, Tati's debut still revels in it's simplicity. The thematic elements of confusion and exasperation at technological advancement and our dependency on this are laid here, of which Tati would go on to fine tune. Charming but a little too cutsie, good job the final twenty minutes is a real blast.
Là où certains y voient un chef d'oeuvre nostalgique et hilarant, je n'y vois qu'un film surestimé, désolant de pauvreté, désuet , insipide et répétitif. Tous les gags se voient venir à des kilomètres. Le dernier quart d'heure illustre parfaitement le film : interminable et redondant avec des gags amenés avec de gros sabots. On sourit à peine, on s'ennuie beaucoup.
Tati's featue debut was a sublime expansion of his earlier short School For Postmen. When the fair arrives in a sleepy French town, amongst the usual attractions is a tent showing a film about the US postal service which is observed by Tati's bumbling postman. After much teasing by locals he is inspired to improve the town's own postal service. I found the film to be thoroughly beguiling, inventive and very funny....