First saw this over 25 years ago - astounded how accurately details of scenes were etched in my mind. Stylistically captivated me then - along with the commentary on potential extreme modernist "dreams" of the time (Mexico, Stockholm etc travel posters early on said it all). Loved it again. Remarkable style and sound caricatures.
It is definitely a wonderful film and a landmark in the history of cinema, especially for the sound and the inventions of images of a new technology which is shaping the world for the worst as it seems. Even though it's not my kind of film and not my kind of humour, there are priceless scenes at the company, at the exhibit and at the restaurant, my favourite. Definitely a must see for all cinema lovers.
Thus far, this is Tati’s apotheosis. The humor, visuals, mood, and absolutely stunning choreography on display in his previous pictures reach their peak in this beautiful and brilliant comment on the modern world, and the nonsense and impracticalities that come with it. By turns beautiful and hilarious, nostalgic and modern, this is the French filmmaker’s masterpiece.
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.