Purely Joyful Movie!

Load of rubbish!!

A Disappointing Continuation

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Monsieur Hulot (Jacques Tati) curiously wanders around a high-tech Paris, paralleling a trip with a group of American tourists. Meanwhile, a nightclub/restaurant prepares its opening night, but it is still under construction."Playtime" is notable for its enormous set, which Tati had built specially for the film, as well as Tati's trademark use of subtle, yet complex visual comedy supported by creative sound effects; dialogue is frequently reduced to the level of background noise.The office set anticipated the dominance of office cubicle arrangements by some twenty years. The set was redressed for the trade exhibition sequence. Tati wanted the film to be in color but look like it was filmed in black and white. He succeeded.This is a great film. With or without the plot, with or without the comedy, it is great on the architecture alone. Few films really capture "architecture" in them, with only one other coming to mind: "Metropolis". That is how rare this film is, being the first of its kind in forty years.

As an introduction, 'Playtime' blew me away with its level of stupidity. It was an episodic comedy set in Paris written and directed by Jacques Tati.To carry on, the script had very little dialogue from the characters. There was more movements than talking. It empathised that the movie was hilarious enough. The sequences built up as much stupidity as what you can ever imagine. Monsieur Hulot curiously wanders around a high-tech Paris, paralleling a trip with a group of American tourists. The character Hulot is an old man who has no idea what he is doing. He entered an office building in Paris acting like he had to attend an important meeting with investors. What is more, Monsieur strangely walked into a high-tech supermarket, purchasing products and getting lost at the same time. Then he rounds up in a stranger's living-room. To top it all up, he dines in a club restaurant with hundreds of American tourists which is still under construction. I call that MAD.In addition, the Paris was a fantastic location to shoot this buncos movie, because of the city's architecture. Viewing a recording of the tall glass buildings and the club-restaurant were beautiful. The French fabulous fashion was also exposed on the movie camera. This included sharp suits, colourful scarfs, shiny shoes and many more made out of fine fabrics. Watching classic cars drive on the urban streets was wonderful. All thanks to the creative designs of the vehicles. All of this went hand in hand with Jean Badal and Andréas Winding cinematography. The artists lighting created a powerful contrast between light and shade.As a conclusion, the motion picture was a masterpiece. This is why I give it an 8/10.

I enjoyed Jacques Tati's previous films so much that I thought "Playtime" would be the culmination of Tati the artist, his obra maestra. I had never seen it and it played recently at Lincoln Center in New York. I must say that I was somewhat disappointed, although it seems to be more self-consciously important and expensive than his more modest efforts, like "Mr. Hulot's Holiday" and "Jour de Fete".This one was just not as funny or as clever as the others and his fabled sight gags lacked timing and resourcefulness. Yes, yes, it was more elaborate and on a grander scale, and spare me the artistic arguments - I am not a film critic but a moviegoer with no pretensions other than to be entertained for an hour or two. And I was entertained, and also saddened to witness Tati and his considerable talent on the downside. I guess movie makers, like baseball greats, can overstay their welcome but still be received warmly by a public who remember better times.

PLAY TIME is a film of astonishing complexity. Tati's performance of this mammoth piece succeeds as both a satire on the absurdity of modern tourism and an unthinkable demonstration of fulfilled imagination. It is famously unwatchable in one sitting. That's not true, but it does yield magnificent insights for those who brave this new Paris.Tati constructs PLAY TIME in unflinching diagonals. Like Hitchcock's NORTH BY NORTHWEST, from which it clearly takes influence, the film revels in the construction of right angles but is always photographed from a diagonal. This is the source of subtle visual tension which Tati is able to sustain throughout the entire process. It is a touch that renders PLAY TIME with that elusive coherence and consistency usually absent in the presence of absurdity. Another component to the consistency is character. Barbara and Hulot share our curiosity and confusion. We are grounded in their solid construction like we would be in any more conventional narrative. Hulot is the perfect character to take us through this labyrinth. Tati, acting as Hulot, plays both our emotional (Hulot -- curiosity, confusion, exploration) and physical (director -- mise en scene) tour guide. Ultimately, the style is arresting. Angular tension binds with bold consistency to create an entirely watchable film.In addition, Tati out-Altman's Altman years before M*A*S*H made him popular. The sound is layered and marvelous, not unlike the visuals, and just as dense with gags. Primary focal points are invariably covered up. English speaking audiences will be rewarded by numerous auditory jokes in both foreground and buried deep into the background. The visual gags are numerous and often simultaneous. Scenes involve incredibly dense, complex, precise comic choreography. Not unlike Keaton, Tati possesses unshakable artistic control and a belief in the subtle comedy of location.PLAY TIME is an astonishing ballet of cinematic possibilities. One only has to think of someone like Malick to realize that Tati imbues every frame with electricity and spirit while making it look effortless. Is it a perfect film? If not, the accomplishment is nothing short of being, quite literally, an absurd miracle. PLAY TIME is a grand fugue of the cinema with lighthearted subject and angular answer. It is capable of anything -- arresting crescendi, subtle sequencing, revealing comedy, and simple beauty. How Tati managed to fulfill this dream will forever remain an object of fascination and a testament to the potential of genius.98.8 (The highest rating I have yet assigned)