Comments on: Jacques Tati’s “Play Time”

By: Scott Kaye

Scott Kaye — Fri, 15 May 2009 20:03:03 +0000

Thank you, Mer. “Mandatory” was a poor word choice. “Desirable” is much more appropriate, and I fully realize the difficulty for almost everyone to see “Play Time” in 70mm. Seeing the restoration in any format is preferable to never experiencing it — especially if it is the fine Criterion reissue. It does screen in 70mm in NYC every 18 months or so, as it does in Los Angeles. The 70mm prints have made their way to Australia and Ireland that I know of. I leave it to my fellow devoted followers to exert some effort at keeping up with the screening schedule depending upon their own ability to attend. I will have to be content to spend two hours with “Play Time” since I am unable to go to Paris to see the “Summer of Tati” that the Cinematheque has going on. Here’s the website: http://www.cinematheque.fr/fr/expositions-cinema/tati/index/bienvenue.html detailing the festivities. Alas, as you state. I, of course, encourage all fans that can to come to UCLA on 4 June to see the 70mm restoration.

My own passion for “Play Time” began over twenty years ago when, upon acquiring my first VCR, I would tape anything at any time that had 3 or 4 stars in the TV listings. So, “Play Time” was on in the middle of the night, and it was highly recommended. I’d never seen nor heard of Tati — and I’m a film-school graduate. I sat down to watch it by myself, and for the first fifteen minutes or so I was completely baffled. Then, miraculously, I laughed for the first time and realized, “Oh, it’s a COMEDY!” Hit rewind, stop, play. I’ve followed it ever since. I even bought the original Criterion DVD before I owned a DVD player. Among the many pleasant discoveries over the years has been that, despite having seen the film at least a couple of times, I learned that IT’S ALL A SET — a massive, constructed creation. Along with “2001,” it is one of the most-audacious artistic visions ever realized on film that I can think of, and that’s over a century of film. Above all, enjoy “Play Time.”

By: Mer

Mer — Fri, 15 May 2009 12:52:43 +0000

Thanks for that wealth of opinion and information, Scott.
“Mandatory” though it might be, the majority of our readership does not reside near either LA or Paris. Alas. It certainly would be lovely to see the film as Tati intended, so lets all keep an eye out for screenings in our cities. Meantime, I’ll continue to deeply enjoy my copy of the Criterion reissue.

By: Scott Kaye

Scott Kaye — Fri, 15 May 2009 06:16:12 +0000

“Play Time” is not a future vision, c. 1967. It is very much a film set in 1967. It shares a lot in common with “2001: A Space Odyssey.” While Kubrick was busy making “2001″ in London, Tati was making “Play Time” outside of Paris, both opting to film in the 65mm negative format for 70mm presentation. For a unique portrait of humankind in 1967-1968, one need only insert “Play Time” into the space within the famous match-cut from the bone to the spaceship in “2001;” indeed, Tati’s masterpiece fits into the thematic gap created by Kubrick’s 4 million year edit.

For those within close proximity to UCLA, the restored 70mm version of “Play Time” will be screening in three weeks on 4 June 2009, and should not be missed. Having seen several times the 70mm version lovingly restored by Sophie Tatischeff, it is mandatory to see “Play Time” as Tati intended: in 70mm on a large screen with a full audience. Watching on DVD — even with the latest, fine Criterion reissue based on the restoration — is far from the same, rich experience that Tati intended and his daughter made possible for 21st Century audiences. It is a treat not to be missed.

For Tati fans, the Cinematheque Francaise is celebrating Tati from April to August in Paris, with exhibitions, screenings, lectures, walking tours, etc. Anyone able to get to Paris this summer should not miss it. There was even a full-scale reconstruction of the Villa Arpel from “Mon Oncle,” through 3 May only…

By: Pierre Simone

Pierre Simone — Sun, 26 Oct 2008 22:09:16 +0000

Found this very interesting article about Tati and the Illusionist. http://www.nonfiction.fr/article-807-la_posterite_de_m_hulot.htm It is wrote in French but is easy enought to translate. Certainly brings up many questions about what we know about Tati and how his lost script is being misrepresented by Chomet.

By: A.P. Stilwell

A.P. Stilwell — Wed, 01 Oct 2008 18:01:21 +0000

Seconds on Tequila’s response, Ben and I have seen ‘Trafic’. To me, it’s appropriate in shifting Tati’s narrative to the cold, clinical confines that his city in ‘Playtime’ contains to the more serene French and German country-sides. The film also includes many gags which can go by or over a viewers head on first viewing (but, after ‘Playtime’, we can be honest that you can’t just watch a Tati film once). Luckily, owning the Criterion DVD I’ve managed to watch the film on three different occasions (with very different groups) and I come back each time noticing very subtle things in Tati’s visuals and storytelling. Granted, the film isn’t as “masterpiece-like” as ‘Playtime’, but it’s certainly not lacking in style, substance, originality, or quality.

Interesting of note is the fact that Tati originally intended ‘Trafic’ to be a French-Dutch co-production, and was to be jointly directed alongside Dutch-man Bert Haanstra. Haanstra filmed the driver montages (picking noses, etc.) as well as the brilliant opening (which I was sure was Tati’s work) of people stepping over invisible wires inside the building where the car show is to be held. Apparently, Haanstra left after filming these sequences, due to his frustrations with Tati’s insistent unavailability. Of course, Tati’s funds ran out and the rest of the production was financed by a Swiss crew who were filming a documentary on the production.

And I, too, am anxiously awaiting Silvain Chomet’s ‘The Illusionist’, though I’m dreading the fact that a U.S. distributor might be forced to change the title due to interference with a mediocre Edward Norton/Paul Giamatti film of the same title.

By: Tequila

Tequila — Wed, 01 Oct 2008 01:48:31 +0000

In seeing the film now it hit the pulse of the future pretty dead on. At least in terms of being an almost eternal tourist perpetually lost. Much of its design too would no doubt be welcomed in many modern offices and public areas.

The CC version is quite beautiful and the best choice for anyone who can’t make a screening let alone wait for a 70MM screening. Few places can really afford to do 70mm screenings anymore and the cost of such prints are only getting higher.

CC also recently released Tati’s “Trafic” which is a fun film in its own right.

Welcome Tanya! This was an excellent way to kick off your time here.

By: Jerem Morrow

Jerem Morrow — Tue, 30 Sep 2008 15:52:22 +0000

@la mome neant

Les Triplettes de Belleville is wonderful! Any self-respecting animation aficionado should seek it out immediately.

By: Jerem Morrow

Jerem Morrow — Tue, 30 Sep 2008 15:50:49 +0000

Sounds lovely.

Und Welcome Tanya!

By: la mome neant

la mome neant — Tue, 30 Sep 2008 06:50:55 +0000

Aw, dear Coilhouse! Thanks so much for this article on my favorite director ever! I hope loads of your readers will check his movies.
Sean, the movie you’re referring to might be Sylvain Chomet’s next feature. He allready directed a 1st animated movie, Les Triplettes de Belleville.

By: Chris L

Chris L — Tue, 30 Sep 2008 04:51:01 +0000

Amazing! I saw some of this film in one of my classes a few years ago, and had completely forgotten about it. Looks like I need to find that Criterion disc!