Tati is not an active satirist nor does he use slapstick. He has assimilated the greats but is an individual comic talent who builds meticulous gags founded on a gentle, anarchic individualism that is always sympathetic, personal and, above all, funny and constantly inventive.
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French actor-filmmaker Jacques Tati’s 1967 masterpiece still holds up as a feast of subtle sight gags, playful noise and, above all, visual wonders.
With Playtime, Tati made one of the most fully inhabitable films ever.
Playtime is sharp and colorful, and visually makes quite an impression.
In this landscape everyone is a tourist, but Tati suggests that once we can find one another, we all belong.
Tati's most elaborate film, Playtime stands as his masterpiece, an awe-inspiring work of intricate choreography with a heart to match its technical expertise.
Emotions, identities, and even bodily functions are distorted by the mechanized uniformity, but Tati’s despair is modulated by a sense of wonder.
Instead of plot it has a cascade of incidents, instead of central characters it has a cast of hundreds, instead of being a comedy it is a wondrous act of observation. It occupies no genre and does not create a new one. It is a filmmaker showing us how his mind processes the world around him.
Jacques Tati's most brilliant film, a bracing reminder in this all-too-lazy era that films can occasionally achieve the status of art.