| Photos (See all 24 | slideshow) |
| Nathalie Pascaud | ... | Martine | |
| Micheline Rolla | ... | The Aunt (as Michèle Rolla) | |
| Raymond Carl | ... | Waiter | |
| Lucien Frégis | ... | Hotel Proprietor (as Lucien Fregis) | |
| rest of cast listed alphabetically: | |||
| Georges Adlin | ... | South American (uncredited) | |
| Michèle Brabo | ... | Holidaymaker (uncredited) | |
| Valentine Camax | ... | Englishwoman (uncredited) | |
| André Dubois | ... | Commandant (uncredited) | |
| Édouard Francomme | ... | (uncredited) | |
| Marguerite Gérard | ... | Strolling Woman (uncredited) | |
| René Lacourt | ... | Strolling Man (uncredited) | |
| Louis Perrault | ... | Fred (uncredited) | |
| Jacques Tati | ... | Monsieur Hulot (uncredited) | |
| Suzy Willy | ... | Commandant's Wife (uncredited) | |
Directed by | |||
| Jacques Tati | |||
Writing credits(in alphabetical order) | ||
| Pierre Aubert | screenplay (uncredited) | |
| Jacques Lagrange | screenplay (uncredited) | |
| Henri Marquet | dialogue | |
| Henri Marquet | screenplay | |
| Henri Marquet | story | |
| Jacques Tati | dialogue | |
| Jacques Tati | screenplay | |
| Jacques Tati | story | |
Produced by | |||
| Fred Orain | .... | producer | |
| Jacques Tati | .... | producer (uncredited) | |
Original Music by | |||
| Alain Romans | |||
Cinematography by | |||
| Jacques Mercanton | |||
| Jean Mousselle | |||
Film Editing by | |||
| Suzanne Baron | (uncredited) | ||
| Charles Bretoneiche | (uncredited) | ||
| Jacques Grassi | (uncredited) | ||
Production Design by | |||
| Roger Briaucourt | |||
| Henri Schmitt | |||
Set Decoration by | |||
| Henri Schmitt | |||
Production Management | |||
| Fred Orain | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Pierre Aubert | .... | assistant director (uncredited) | |
Art Department | |||
| Pierre Clauzel | .... | property master | |
| André Pierdel | .... | property master | |
Sound Department | |||
| Jacques Carrère | .... | sound recordist | |
| Roger Cosson | .... | sound | |
| Guy Michel-Ange | .... | sound editor | |
Visual Effects by | |||
| Trey Freeman | .... | restoration artist (uncredited) | |
Camera and Electrical Department | |||
| Pierre Ancrenaz | .... | assistant camera (as P. Ancrenaz) | |
| André Villard | .... | assistant camera (as A. Villard) | |
| Le Chevallier | .... | assistant camera (uncredited) | |
| André Marquette | .... | assistant camera (uncredited) | |
| Fabien D. Tordjmann | .... | assistant camera (uncredited) | |
| André Villard | .... | camera operator (uncredited) | |
Editorial Department | |||
| Raymond Dechanseau | .... | synchronization (uncredited) | |
Other crew | |||
| Sylvette Baudrot | .... | script girl | |
| Bernard Maurice | .... | general administrator | |
| Philip Schwob | .... | location manager (uncredited) | |
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| A Summer's Tale | Côte d'Azur | Forgetting Sarah Marshall | A Month by the Lake | Home Alone 2: Lost in New York |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb France section |
It's probably easy to see this as just a relatively late occurrence of classic slapstick. In fact, the slapstick dimension is quite masterful. But there's a lot more to this movie than the comedic value of seeing someone get kicked. Part of the charm comes from the structure of the movie. Instead of a linear narrative or a series of sketches, it's a multi-dimensional portrait of different aspects of human nature. The "point" of the movie, if there is one (there's more likely a large array of "points" in this apparently simple comedy), isn't put out ostentatiously throughout the film. For instance, if Tati intended to admonish people to have some fun in life, it's not by showing how Hulot's having fun but by showing the respect fun may have with some people. There's also the purely aesthetic pleasure derived from a well-crafted movie. This one's fluid enough that nothing appears superfluous, from sun rays passing between drapes to one of Hulot's "accidental" gestures. Of course, there's a nostalgic value in watching such a movie. Not for 1950s France but for another era, however long ago, when insouciance might have been acceptable.