A man has everything: dozens of servants, a palace, vast woods, gardens, a lake, mechanical toys, private entertainment troupes of musicians and dancers. He has it all - but love. When ... See full summary »
A man has everything: dozens of servants, a palace, vast woods, gardens, a lake, mechanical toys, private entertainment troupes of musicians and dancers. He has it all - but love. When alone, he sits at a desk, sighing, and looking at a photograph of a pretty girl. One day, the circus descended onto his palace, and amidst all the fun it brought, he recognized the Amazon on the white horse - the girl in the photograph. The girl is now the mother of a small boy, Yo-Yo, whom she considers that looks like the millionaire, even under a clown's make-up. The boy will spend some time in the palace, in awe of so much riches, but he will leave (in a dream-like scene) on the tusks of the elephant. Time passes - and one day Yo-Yo will be the owner of his father's palace in decay. Starting from scratch, he will rebuilt it, and be praised as a great clown, an artist, a film-maker, a millionaire. Yet, something is amiss... Written by
The film was awarded the 1965 Grand Prix Jeunesse at the Cannes Film Festival, and the First Prize of the International Catholic Organization for Cinema and Audiovisual (OCIC) at the Venice Film Festival. See more »
While Tati seemed to love performers this film abuses them, its seriously unfunny. The actors are fine but they are treated shoddily. The film maker seems to want to denigrate live performers. It's inventiveness is not enough salvage it's integrity.. Check out any Tati movie and compare the framing the narrative and the characterization to appreciate how trite this film is by comparison. Oddly it was made AFTER Tati's heyday. One would hope something had been learned. French satire by its very nature is somewhat lame, but this is embarrassing. It's as though Germany had won in 1871 and infected European story telling.
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