Jacques Tati's Filmography
Jacques Tati is my favorite director of all time. His subtle humor and unique style of art is not seen in any other director. To me, he will always remain as the King of Sound Comedy.
The connection between his imagery and sounds employed in his films give the film an artful effect that makes his films feel as though they are from a different world.
I do not think I have seen such masterful use of sound in liberating the emotions of the viewer by any other director. Music for example is very important in silent cinema as it sets the form and the rhythm of the film. Without a background track to listen to as the viewer sees the images slides across the screen, one feels they are devoid of the entirety of the film. It feels as though the film is incomplete.
Jacques Tati mastered the use of sound and employed it in accordance with the beautiful imagery sliding across the screen, not only as a comic effect, but as an art form. His films are too sublime, ethereal, and far too moving.
A certain characterization point I have realized in his films is that the first 15-30% of the film identifies and sets the rhythm of the film. Once the viewer has familiarized with the certain style that Tati uses in his films, he begins to delve into the film even further. A person begins to see more, the little details, the comic effects, and is unable to repress (uncontrallable) the desire to either smile or laugh. This is an emotion I have not been able to feel in any other comedy. His style of humor is so absurd and different that one questions how this genius has thought of such things.
I will not compare the genius silent comedians such as Charlie Chaplin and Buster Keaton to him because their styles differ greatly. It annoys me when a person thinks that Jacques Tati was a spin-off of say Charlie Chaplin. It just is not true. Comparing silent comedians with Jacques Tati would be like trying to compare a writer with a film director. It just cannot be. There is only one thing in common: they make comedy that is far too moving.
"When Tati simply requested the opportunity to visit Stan Laurel, Mack Sennett and Buster Keaton at their nursing homes after winning the Oscar in 1958, Keaton reportedly said that Tati's work with sound had carried on the true tradition of silent cinema."{Taken from Wikipedia}.
Where to Start:
As I have mentioned earlier, the first 15-30% of the film identifies the setting and plot and gives the viewer ample time to get familiarized with his work. After this, the viewer can delve and feel the emotions that his films give in an amplified version.
As Jacques Tati's style is very different, I would recommend to be patient with his movies. Treat it as you would treat an arthouse film - try to absorb everything and don't just view it as a simple "comedy." There are little bits and details everywhere throughout his films. Jacques Tati's films are an ACQUIRED TASTE. Be PATIENT.
I would recommend to either start with his short film, L'école des facteurs (1947), or the film that introduced the character of Monsieur Hulot - Les Vacances de Monsieur Hulot (1953). I stress that you watch the original version that is longer (the 1h40 min version). Jacques Tati had re-edited the film later in his life and took out about 10-12 minutes of footage which I think were better off not being removed. Nevertheless, these are the best places to start.
Where Not to Start:
Do not start at Playtime (1967) which is his masterpiece and very difficult to understand. This would be like watching Tarkovsky's Zerkalo (The Mirror) without having watched any arthouse films. You would be completely lost and lose your patience.
I also do not recommend to start with his first film, Jour de Fête (1947), as most film viewers would prefer to go in the order the director made his films. It is easier to appreciate Jacques Tati when one has understood to the best extent of his style that one can through his other films. Also, once can appreciate a work better when one has become sentimentally attached to the director and actor Jacques Tati through the character of Monsieur Hulot. Monsieur Hulot is a clumsy, but kind-hearted character.
The best progress branch in his films would be in my opinion:
1) Les Vacances de Monsieur Hulot (1953) (1h40min)
2) Mon oncle (1958) (1h56min)
3) Jour de Fête (1947) (1h27min black&white/1h20min color)
After:
4) Playtime (1967) (2h4min) - Must have fast eyes
5) Trafic (1971)
6) Parade (1974)
You can also watch his other three short films afterwards his Playtime.
I truly recommend to rewatch his films. You always see different things that you did not see the first time when rewatching. His style of filming and attention to small details is mysterious.
Rewatching is essential for Playtime. The first time I watched Playtime, I was bored, not patient enough, and not in the right mood to look out for little details. Playtime requires at the least three viewings of the film to get a better comprehension of it. One can even rewatch the film ten times and catch details and points of view they did not see before with each viewing. This is especially evident in the restaurant sequence.
I wrote this not only because of my utmost respect for Jacques Tati as a person and a director, but because I felt the need to let my feelings flow into physical words.
The order of the list is in the preferred viewing of Jacques Tati's filmography. I have no preference of one film over the other.
The connection between his imagery and sounds employed in his films give the film an artful effect that makes his films feel as though they are from a different world.
I do not think I have seen such masterful use of sound in liberating the emotions of the viewer by any other director. Music for example is very important in silent cinema as it sets the form and the rhythm of the film. Without a background track to listen to as the viewer sees the images slides across the screen, one feels they are devoid of the entirety of the film. It feels as though the film is incomplete.
Jacques Tati mastered the use of sound and employed it in accordance with the beautiful imagery sliding across the screen, not only as a comic effect, but as an art form. His films are too sublime, ethereal, and far too moving.
A certain characterization point I have realized in his films is that the first 15-30% of the film identifies and sets the rhythm of the film. Once the viewer has familiarized with the certain style that Tati uses in his films, he begins to delve into the film even further. A person begins to see more, the little details, the comic effects, and is unable to repress (uncontrallable) the desire to either smile or laugh. This is an emotion I have not been able to feel in any other comedy. His style of humor is so absurd and different that one questions how this genius has thought of such things.
I will not compare the genius silent comedians such as Charlie Chaplin and Buster Keaton to him because their styles differ greatly. It annoys me when a person thinks that Jacques Tati was a spin-off of say Charlie Chaplin. It just is not true. Comparing silent comedians with Jacques Tati would be like trying to compare a writer with a film director. It just cannot be. There is only one thing in common: they make comedy that is far too moving.
"When Tati simply requested the opportunity to visit Stan Laurel, Mack Sennett and Buster Keaton at their nursing homes after winning the Oscar in 1958, Keaton reportedly said that Tati's work with sound had carried on the true tradition of silent cinema."{Taken from Wikipedia}.
Where to Start:
As I have mentioned earlier, the first 15-30% of the film identifies the setting and plot and gives the viewer ample time to get familiarized with his work. After this, the viewer can delve and feel the emotions that his films give in an amplified version.
As Jacques Tati's style is very different, I would recommend to be patient with his movies. Treat it as you would treat an arthouse film - try to absorb everything and don't just view it as a simple "comedy." There are little bits and details everywhere throughout his films. Jacques Tati's films are an ACQUIRED TASTE. Be PATIENT.
I would recommend to either start with his short film, L'école des facteurs (1947), or the film that introduced the character of Monsieur Hulot - Les Vacances de Monsieur Hulot (1953). I stress that you watch the original version that is longer (the 1h40 min version). Jacques Tati had re-edited the film later in his life and took out about 10-12 minutes of footage which I think were better off not being removed. Nevertheless, these are the best places to start.
Where Not to Start:
Do not start at Playtime (1967) which is his masterpiece and very difficult to understand. This would be like watching Tarkovsky's Zerkalo (The Mirror) without having watched any arthouse films. You would be completely lost and lose your patience.
I also do not recommend to start with his first film, Jour de Fête (1947), as most film viewers would prefer to go in the order the director made his films. It is easier to appreciate Jacques Tati when one has understood to the best extent of his style that one can through his other films. Also, once can appreciate a work better when one has become sentimentally attached to the director and actor Jacques Tati through the character of Monsieur Hulot. Monsieur Hulot is a clumsy, but kind-hearted character.
The best progress branch in his films would be in my opinion:
1) Les Vacances de Monsieur Hulot (1953) (1h40min)
2) Mon oncle (1958) (1h56min)
3) Jour de Fête (1947) (1h27min black&white/1h20min color)
After:
- L'école des facteurs (1947) (16min)
4) Playtime (1967) (2h4min) - Must have fast eyes
5) Trafic (1971)
6) Parade (1974)
You can also watch his other three short films afterwards his Playtime.
I truly recommend to rewatch his films. You always see different things that you did not see the first time when rewatching. His style of filming and attention to small details is mysterious.
Rewatching is essential for Playtime. The first time I watched Playtime, I was bored, not patient enough, and not in the right mood to look out for little details. Playtime requires at the least three viewings of the film to get a better comprehension of it. One can even rewatch the film ten times and catch details and points of view they did not see before with each viewing. This is especially evident in the restaurant sequence.
I wrote this not only because of my utmost respect for Jacques Tati as a person and a director, but because I felt the need to let my feelings flow into physical words.
The order of the list is in the preferred viewing of Jacques Tati's filmography. I have no preference of one film over the other.
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- 12 titoli
- RegistaJacques TatiStelleJacques TatiNathalie PascaudMicheline RollaA bordo della sua vecchia automobile, il signor Hulot parte per le tanto sospirate vacanze come migliaia di parigini. Giunto nella ridente località, Hulot porta scompiglio nella piccola comunità di gitanti.Watch the longer version (1h40)
- RegistaJacques TatiStelleJacques TatiJean-Pierre ZolaAdrienne ServantieMonsieur Hulot visita il mondo guidato dalla tecnologia di sua sorella, cognato e nipote, ma non riesce ad adattarsi perfettamente all'ambiente circostante.I have not watched the english version and I don't think I will.
- RegistaJacques TatiStelleJacques TatiGuy DecomblePaul FrankeurA village postman with no sense of humour delivers his mail via bicycle on the day the travelling fair comes to town. He is disrupted by a short film about US speed and efficiency and the playful teasing of the village folk.Watch all three versions (1h27min black&white), (1h20min black&white with partial colors), and (1h20 color).
- RegistaJacques TatiStelleJacques TatiPaul DemangeSchool for Postmen" is a 1947 short film directed and starring Jacques Tati, playing a French postman adamant to prove he can be just as fast as American postmen at delivering mail.Watch after Jour de Fête
- RegistaJacques TatiStelleJacques TatiBarbara DennekRita MaidenMonsieur Hulot si aggira incuriosito per una Parigi altamente tecnologica, in parallelo con la visita della città da parte di una comitiva di turiste americane. Nel frattempo, un ristorante/night club prepara la serata d'apertura nonostante sia ancora in costruzione.This film took 9 years to make and made Jacques Tati bankrupt from the production costs. Watch this films atleast three times. Watching it once and calling it a day would be like watching a film in 3x speed.
- RegistaNicolas RibowskiStelleJacques TatiAlain FaynerMarc MonjouJacques Tati teaches an acting class about the subtleties of certain types of people to a group of eager (but not very talented) students.
- RegistaJacques TatiStelleJacques TatiMarcel FravalHonoré BostelMr. Hulot drives a recreational vehicle from Paris to Amsterdam in his usual comical, disastrous style.
- RegistaJacques TatiStelleJacques TatiKarl KossmayerPierre BrammaTwo children go behind the scenes of a small circus.
- RegistiJacques TatiSophie TatischeffA sports documentary short covering the soccer match for the UEFA cup of 1978, with the French Corsican team Bastia playing against the PSV Eindhoven club from the Netherlands.
- RegistaCharles BarroisStelleJacques TatiHélène PépéeRhumAn amateur actor, hen-packed loser, signs unwittingly a contract to fight against professional wrestler.
- RegistaJacques BerrStelleRhumJacques TatiTwo friends try to raise money by tricking people into an improvised leisure tour.
- RegistaRené ClémentStelleJacques TatiMax MartelLouis RoburA boxer is out in the country with his entourage, training for his next fight. Meanwhile, on the farm nearby, Roger is neglecting his chores. As he watches the boxer and his sparring partners at work, Roger starts to fantasize about being a boxer himself. Then, when none of the boxer's sparring partners can continue, he is asked to fill in, although he doesn't know anything about how to box.
