Playtime (1967) Review- By Michael J. Carlisle

Title: Playtime
Year: 1967
Director: Jacques Tati
Country: France
Language: French

Upon its release in 1967, PlayTime was the most expensive film ever made in France. And yet, it contains almost no story and its dialogue is mostly inconsequential. Like Tati’s other pictures, the dialogue has been post-synchronized and its volume turned down to direct our attention to forms of behavior and visual gags in the impractical spaces he’s chosen to depict. The spaces were inspired in part by French president Charles de Gaulle who, upon being elected, made a vow to develop his country’s economy and reform Paris into a modern city. The city of the future was on its way, and its expansion was modeled according to dull, functional, pointedly Americanized specifications.

Tati's curious character 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. 

Tati’s famous alter ego Monsieur Hulot, who first appeared in M. Hulot’s Holiday (1953) and then Mon oncle (1958) walks around the impressive Tativille, a satire of Paris at the time, bemused and bewildered at the sights and sounds of this daunting metropolis. One can compare this picture to Charles Chaplin's Modern Times, although while the Tramp was focused on technology of the future Tati is focused on the architecture. It's a visually impressive picture, so large in scale that our eyes can't help but examine every detail in each shot. 

The experience of PlayTime amounts to a series of moments and gags realized over a leisurely runtime. Some gags remain unresolved and some will surpass the viewer over multiple viewings. Tati himself considers Playtime to be "abstract art". He resists narrative in favor of a methodical and mannered formal technique. By placing his audience at a distance and allowing wonderfully choreographed moments to unfold before us we are provided a unique filmgoing experience, though admittedly it might turn modern audiences off. 

Upon its release in France Playtime received a tremendous amount of public criticism and, due to political circumstances of the time, it did not make as much money as Tati hoped. Playtime is not the easiest picture to get into, but patience is greatly rewarded. I knew I was watching something unique, I have never seen another film quite like this.