Playtime [1967] (REGION 1) (NTSC)

Customer Reviews:

Whether it's a masterpiece or a failure or both, Playtime remains an essential Tati movie.......2007-07-09

Why was Playtime a failure, sending Jacques Tati into bankruptcy and costing him control over his life's work of films? His previous film, My Uncle, had been a commercial and artistic success. M. Hulot's Holiday and Jour de Fete had gained Tati world-wide recognition and respect. He had become recognized as one of the few authentic geniuses of film.

Watch Playtime and I think you'll find the answer. Tati in his earlier films placed Hulot in situations where we could empathize with him. Hulot was an innocent. As we came to like him, we also came to like the people he encountered. Even with their pretensions and idiosyncrasies, we could see something of ourselves in them. Tati might be holding up a mirror for us to look in, but M. Hulot was such a gentle companion that we smiled as we recognized ourselves.

With Playtime, there is little Hulot. Instead, we have Tati's view on all sorts of social and cultural issues, from the sterility he saw in much of modern life to modern architecture, group behavior, impersonal offices, loneliness, boorishness and American tourists. We're observers, and our job is to share Tati's viewpoint. Hulot, now middle-aged, has become a minor player in the film. In his earlier movies, Tati was careful to give us small numbers of people with whom, along with Hulot, we could come to know. In My Uncle, for instance, it was essentially one family and one modern home, along with Hulot's own apartment and his neighbors. In M. Hulot's Holiday, it was a small seaside hotel and its guests. With Playtime, we have a large, impersonal office building, all glass and right angles, filled with people -- employees, visitors, exposition guests, customers. Then we have an apartment building with huge curtain-less windows allowing the pedestrians to look right in, and we're among the pedestrians. Then we have a nightclub filled with customers, waiters and managers. There is little opportunity to get to know any of these people, much less develop affection for them.

However, as with all his movies, Tati fills Playtime with streams of intricate and carefully developed comic situations (although comic is too broad a term), often that build from small happenings we've barely noticed. There is only sporadic and incidental dialogue, but sound effects are vital to the movie, as subtle and amusing as what we see.

As sterile and unattractive as Tati makes the airport, the office building, a convenience store and the apartment, there are such odd and subtle sights as the bobbing wimple wings on two nuns, a floor sweeper staring at a booted officer, Hulot suddenly sliding down a floor, glass windows and doors impossible to tell if they're there or not, a table lamp that dispenses cigarettes, strange-looking and wobbling food at a self-service counter...and the list simply goes on. And it's not just one thing at a time. Tati can fill a screen with all sorts of amusing occurrences, some happening in the foreground, some in back, some at the sides.

The last hour of the movie takes place in a modern nightclub, the Royal Garden, which has just opened and is barely ready for its customers. A dance floor tile sticks to a maitre d's shoe, a fish is ostentatiously finished table-side by a waiter...then finished again and again by mistake while the two customers ooh and ah. A bow tie falls in the sauce. A bus-load of tourists suddenly appear. When Hulot manages to accidently shatter one of the glass doors to the restaurant, it is a culmination to all those glass walls we've been looking through and walking into. The follow-up gag with the round door opener is almost worth the price of the DVD. As the modern restaurant gradually disintegrates around us, Tati finally begins to ease up on personal viewpoints and let's us simply enjoy the sight of people becoming more like people. And that, I suspect, is the point Tati wanted to make. In an odd sort of way, the last ten minutes evoke the humor and warmth of previous Tati movies...a packed traffic circle with all the cars moving slowly together; a father taking a toy horn from his little boy and blowing it, too; the bittersweet last look at Hulot walking past a bus where a young woman he met at the nightclub is being taken to the airport with her tourist group.

If you like Tati's viewpoint on the impersonalization of modern society, you'll probably like Playtime. Some critics call it his masterpiece. If you like Tati, I think Playtime is essential, if only to understand what happened to him. The movie is an idiosyncratic and gallant failure, in my view, and much too long. Still, I'd rather watch Playtime than most of what passes as genius in films today.

PLAYTIME in a barely recognisable, modernist Paris.......2005-04-10

Misunderstood and occasionally unappreciated ever since its initial 1967 release, Tati's visionary masterpiece is now an undisputed classic. The hallucinatory, hypnotically strange modernist vision of a barely recognisable Paris is quite simply amazing. Hugely influential for its use of space, architecture and Tati's amazing ability to mine subtle observational humour out of literally 'nothing much going on', this visually beautiful film is a must for all film fans. It is also an object lesson to all aspiring filmmakers and critics alike on the use of sound in the cinema.

Tati show us how most definitely less is more, in visual and aural terms. He makes every single second of screen time count. This is incredibly difficult to achieve, yet Tati manages it all with effortless grace and dexterity, all the while charming and amusing us with the immortal Mr. Hulot's hilarious physical comedy. The French Buster Keaton? Why not; they both share an innate genius for visual and physical comedy, and the intuitive appreciation of cinematic space, which few directors, living or dead, ever fully understand. Whenever I see this movie I am reminded of Time Out's famous review of Leone's Once Upon A Time In The West (1968), which (I admit I am paraphrasing here) goes something like "The only critical tools you need are your eyes and ears: this is cinema!" How true and so apt of Playtime.

Tati's alter ego, the ever polite, angular Monsieur Hulot, is let loose on a Paris dominated by modern offices, pristine glass surfaces and scurrying, over-officious French nine-to-fivers. Whether filming the shimmering space of an airport lounge and check-in area in a hilariously evolving sequence shot in one long take, or bumbling in and out of a new office building's reception area, where the automatic doors emit one of the funniest sound FX in cinema, Tati's distanced, observational humour of life in all its idiosyncratic charm is constantly surprising and always very, very funny.

Although the film's use of the wide screen and frame works so well up on the big screen, it will paradoxically work equally well on DVD. Here the 'audience' i.e. me, you, the dog, and the sofa, will just as readily appreciate the details and hilarious little asides Tati inserts in almost every shot and frame, which are easily missed at a single viewing.This movie rewards multiple viewings and DVD is undoubtedly the vehicle for that. In fact, I would go as far as to say that the Big Guy of Cinema must have had DVD in mind when he thought of PLAYTIME, as this is one of those classics which you will want to see again and again, and not get bored doing so.

Before I wax over lyrical about Tati and PLAYTIME, one last paragraph on the film's famous closing 35 minutes or so. Watch it as it unfolds, simply, beautifully and in one long sequence, and ask yourself this question: is there a funnier, more charming or beautifully observed and directed closing sequence on film? I hope your answer will be a resounding 'NO!'...

Great presentation, poor film.......2004-10-17

This BFI DVD of the 126-minute restoration (actually 125mins - a full minute is taken up with restoration credits) of Tati's monumental box-office failure is fairly impressive. The colour is good, the extras informative (although the absence of the short film 'Cours de Soir' Tati shot on the set is galling). There's only one real problem - the film itself.

I had a very, very vague memory of seeing Playtime many years ago in a double-bill with Tati's Trafic and finding the experience a painful and almost completely laughter-free one (although Trafic did have one great sight gag involving changing a car wheel). Deciding to give it a second chance, I was shocked at just how astonishingly bad it was. It's not really a matter of finding the jokes unfunny - there are practically no jokes to find, funny or otherwise. Nor is there plot, nor characterization. It's a horrendously drawn-out catalog of nothing. Where some comedies are all set-up and no payoff, this doesn't even have the set-up or, when it does (as in the interminable restaurant scene) it will take a quarter of an hour setting up a not very good gag. I just sat there in increasingly stunned disbelief at how little there was there.

The design is interesting, but Tati seems to think that it is enough and never really uses the environment, as if he is at a loss for what to do with his expensive train set. In many scenes he just stands still in a corner of the set while we watch the extras doing nothing. For a very, very long time. And while Tati does fill the screen with multiple characters doing multiple things in multiple areas of the frame, none of them are ever in much danger of actually doing anything funny or remotely intersting.

There are the germs of a good idea here and there - the identical posters of capital cities, Barbara's sad expression at the reflection of the Eiffel Tower as she enters the exhibition hall that has become the new staple of the tourist itinery, the idea (but not the execution) of people staring at the same point of the wall housing their TVs in an ultramodern apartment - but like the not funny the first time running gag of various passers-by being mistaken for the mostly absent M. Hulot, they get lost in the surrounding inertia. Only the gag with the doorman and the smashed door is really worthy of the Tati who gave us Jour de Fete or Ecole des Facteurs. The wonder is not that Tati bankrupted himself on this folly but that he ever thought there was anything there to make the risk worthwhile.

Horribly disappointing and for Tati completists only.

A masterpiece (but maybe not Tati's best...).......2004-10-01

It's been a long wait for a decent region 2 release of this movie by actor/director Tati. It's not is most accesible work (Les Vacances de monsieur Hulot/Mister Hulots Holiday is a better choice to get used to the subtle humour), but it's a timeless and very funny movie. I had to get used to the fact that much of the humour happens in the background, so it's quite rewarding to watch this movie more often. Decent extra's about Tati and the making of this movie make this a very good DVD. Bring on the other Tati masterworks!

brilliant critique of modernist architecture.......2004-01-14

Not sure about the one previous critique of this negelected masterpiece. Sure, the film oozes with 60's style and rhetoric - which may seem faded to some watching the film today - but what a subtle and understated critique this is! And the joy of seeing a film ostensibly "about" Paris reflecting the monuments of Paris but in an oblique way. Never have the alienating characteristics of the international style been exposed more directly and - I dare say - more effortlessly. If you want to understand why postmodernism cam about in the first place, watch this film.

Average customer rating:

Playtime [1967] (REGION 1) (NTSC)
Starring: Yves Barsacq , Valerie Camille , France Delahalle , Barbara Dennek , and Erika Dentzler
Manufacturer: Criterion
ProductGroup: DVD
Binding: DVD

All Comedy | Comedy | Categories | DVD | Video

Children's | Classics | Categories | DVD | Video

Comedy | Classics | Categories | DVD | Video

All Children's DVD | Children's DVD | Categories | DVD | Video

Region 1 | Special Features | DVD | Video

DVD | Format (binding_browse-bin) | Refinements | DVD | Video
ASIN: B00005B1ZM
Release Date: 2001-05-22

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