Monsieur Hulot 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's still under construction.
Once a year the fair comes for one day to the little town 'Sainte-Severe-sur-Indre'. All inhabitants are scoffing at Francois, the postman, what he seems not to recognize. The rising of the... See full summary »
Monsieur Hulot has to contact an American official in Paris, but he gets lost in the maze of modern architecture which is filled with the latest technical gadgets. Caught in the tourist invasion, Hulot roams around Paris with a group of American tourists, causing chaos in his usual manner.Written by
Leon Wolters <wolters@strw.LeidenUniv.nl>
Predominant colours are in shades of grey, blue, black, and greyish white. Green and red are used as occasional accent colours: for example, the greenish hue of patrons lit by a neon sign in a sterile and modern lunch counter, or the flashing red light on an office intercom. See more »
The escalator handrails aren't moving in the fist department store scene. You can see the actors skimming their hands along, pretending it's moving when you can see by reflections of its surface, it is indeed not. See more »
The title isn't shown until the end of the opening credits. Additionally, there are no end credits. The final shot simply fades out and there is about a minute of exit music. See more »
First assembled cut ran 155 min. with intermission and exit music. This version was edited down by Tati himself to 124 minutes as a shorter film seemed more lucrative (Tati was in financial trouble because of the non-successful run of Mon Oncle and the long shooting of _Play Time (1967)_). It was released on 70 mm with 6-Track sound. In the US the film was released with a running time of 93 min. and 1-Track mono sound. Other versions ran between 108-120 min. and were released on 35 mm with 4-Track Stereo sound (quadraphonic). Over the years the 124 min. version became unavailable as the shorter versions were shown in wider circulation. In 2001 the film was restored and shown in its original 124 min. cut at Cannes Film Festival 2002. See more »
This is the first Tati film I've seen, but I've heard quite a lot about him. I saw the 70mm reprint with high expectations and was not disappointed.
This is a movie that leads the viewer where it feels like going. It has it's own rhythm and path. Just as circumstance beyond Mr. Hulot's control takes him wherever he may go, the camera seems to follow the same kind of path. The viewer doesn't know where it's going, and the viewer doesn't know where exactly it wants to go. The great thing about this movie is that it doesn't follow Mr. Hulot exclusively. The camera behaves the same way without needing to follow Mr. Hulot. He moves where he goes, the tour group moves where they go, and the camera moves where it may go. The world around them and the viewer dicates it in the most unconscious kind of way.
The first part of the movie is a satire on the inhuman world we've built around us. Mr. Hulot tries to navigate it, but the world won't sit still. Everything moves around without him and he can't find anything. Just like he is moved around, so is the object of his desire, whatever it may be at the moment. But Mr. Hulot doesn't mind, he goes along with it and enjoys it all the way, just like the viewer.
In another Tati movie, Mr. Hulot's Vacation, there is a scene where he's resting on a beach, and his drink floats away with a wave and floats back just as he reaches for it. That's how this movie is. Everything might not exactly go as people hope or plan, but it goes it's own way. Not everything goes as planned, but Mr. Hulot accepts it and so does the viewer. Rather than fight the world around him and force it to do what it wants, he takes joy in looking around and enjoying the ride, and what makes the movie so great is that so does the viewer. You might not know where things are going, but they do what they will and you enjoy watching things unfold.
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