The film does a good job of demarcating the limits of modernity on multiple levels. The lack of a central figure is what fascinates me the most, along with the use of bodily uncontained humor flowing from scene to scene. The crowds reaction to the Afro-beat music literally defines the "postcolonial" human; reinvigorated by mythic notions of "privitivism."
To me, this film didn't come together until the very end. Up to that point, I was impressed but not on board. Then it all hit me, an ending that elicits the loss of nature, similar to Malick's Tree of Life. What a marvel this film is. The framing, direction, and production design are out of this world. We will rarely see sets like this ever again.
Hulot primero estuvo en el campo, pasó a los suburbios y ahora se le ve en la ciudad, una que es cosmopolita y en donde la disciplina citadina se esfuerza por llevar el orden. A pesar de que no son extranjeros, todos parecen ser ajenos a este contexto plástico, neutral. Un mundo en donde lo más tradicional (como la torre Eifel) es apenas un reflejo. Pero entonces todo se desmorona y el carnaval tradicional retorna.
10 - It's as if Tati built a huge, impersonal, modernistic nightmare of a city, staged a thousand individually creative silent films in it simultaneously, and just walked through it, which is frankly not too far from what he actually did. The miraculous climax, in which an amicable, warm-hearted party takes shape from the literal ruins of an impersonal restaurant opening, is one of my favorite sequences in cinema.
So much love and meticulous study and planning has gone into this film; hardly any dialogue but Tati's comedy is strong and poetic at the same time. You can watch this time and time again, and discover a new details, perspectives or points of view every single time.
This is film tried my patience, it's way too long and it's very short on laughs in places but a few early moments with Tati and the entire hotel dinner sequence make the film worth watching. There's also very amusing visual gag that closes the film as well and perhaps I'm stretching a bit but I thought Tati made a nice nod to M. Hulot's Holiday with the door that goes BONG.
A fugal, ambitiously macro-scaled project in capturing comedic absurdities of the petty fleshling amidst consumerist technocracy, 'Playtime' juxtaposes through spontaneous microcosms (visual gags) worlds of civil, futurist sterility with that of organic, primitive chaos, ushering in progressive geometric circularization from linear duties of modern subjugation the simple cosmic freedom of joy and being.
Playtime is a brilliant satire that depicts a world that is cold, labyrinthine and inhabited by the tertiary sector. Tati's nearly wordless vision of modern life is satirical and intelligent, he brings his natural wit to the story and establishes little, but relevant subtexts in the tiniest details, ridiculing the lifestyle of the modern era. Even the stunning grey cinematography comes with a (more direct) purpose.
Though it took me a few tries to get through the film for various reasons, it's definitely an ingenious bit of comedy and construction. The way one little instance unfolds to create a variation of instances is remarkable, and plays seamlessly. Masterful production.