Jacques Tati was a French mime and filmmaker active between the 1930s and '70s. He began as a music hall performer before experimenting with film, directing his first feature in 1949. His comedic style was highly visual and physical. In most of his work, Tati played his iconic Monsieur Hulot character, a clumsy but well-meaning figure with a distinctive lurching walk and sporting a raincoat, umbrella, and pipe. Through Hulot, Tati's movies often poke fun at modernity, consumerism, and the alienating effects of technology.
Although Tati only directed six features and a handful of shorts, he is frequently ranked among the greatest French directors of all time. His work was highly influential, particularly in France but also across the world. Most notably, Rowan Atkinson has cited Tati as a major inspiration for Mr. Bean. "[Tati] opened a window to a world that I'd never looked out on before," he has said. "How a comic situation can be developed as purely visual and yet it's not under-cranked." These are Tati's finest projects, ranked.
10 'Forza Bastia' (1978)
A documentary on sporting passion
Forza Bastia is a 26-minute documentary about a match between soccer teams PSV Eindhoven and SC Bastia. Tati directed it at the request of his pal Gilberto Trigano, who was then President of the Bastia club. Set in a small Corsican town, the film chronicles the misadventures of a group of local football enthusiasts as they prepare for a crucial match. Tati, known for his keen observation of human behavior, captures the essence of small-town life with his trademark humor and wit.
In particular, the movie does a good job of capturing the vibrant atmosphere of the game. It's an event marked by tension but also camaraderie and community. The match is also notable for the inclement weather that turned the pitch to mud, leading to messy antics. Although Tati didn't finish the editing process, his daughter Sophie Tatischeff completed it in 2000, and the full film was finally broadcast on French TV.
9 'Parade' (1974)
A TV movie about the joy of performance
This TV movie was Tati's final project, and he went out with a bang. Here, he brings viewers into the world of the circus, where he not only directs but also steps into the role of the master of ceremonies. Parade showcases a variety of acts, from clowns to jugglers, acrobats, and contortionists. In the process, it emphasizes the connection between the performers and the audience.
The movie is a somewhat uneven, with some vignettes falling a bit short. It also has less polish as a result of a smaller budget, a result of the commercial failure of Tati's preceding movie. This is why it was shot on video rather than film. Nevertheless, Parade is still fun and enjoyable, particularly for the filmmaker's fans. Although rough around the edges, it makes for a fitting conclusion to his career, harking back to his beginnings as a mime and theater performer. Plus, the visuals by renowned cinematographer Gunnar Fischer (most well-known for his collaborations with Ingmar Bergman) are solid.
8 'Evening Classes' (1967)
A short in which Tati teaches a lesson
Evening Classes is a 30-minute short film in which Tati teaches lessons in performance to a group of students. It consists of a series of sketches, ranging from the zany to the outright absurd. Some of the skits were originally part of Tati's stage act in the 1930s and it's wonderful to see them preserved in film. The most memorable of them are the tennis player scene and the horse rider sketch. Plus, some of his advice about the art of comedy continues to ring true today.
In particular, he demonstrates his knack for observing and capturing people's mannerisms. The film was shot while Tati was on the set of his movie Playtime, so it's a behind-the-scenes snapshot of the artist at the height of his powers. Though not necessarily a great starting point for newcomers, Evening Classes should be a treat for Tati stans who have already watched all his features and are looking for more of his hilarity.
7 'Watch Your Left' (1936)
Tati's physical comedy at its zaniest
This short sees Tati playing a farmer with aspirations of becoming a boxer. He gets an opportunity to live out this fantasy when a prizefighter is in need of a sparring partner. However, when his dream comes true, he finds himself unprepared for the challenges that await him in the ring. The main problem is, he doesn't know how to box. This leads to all sorts of silly hijinks, including Tati reading the boxing rulebook in the middle of the fight.
Watch Your Left is only 13 minutes long, but crams a ton of physical comedy into its brief runtime. It's a simple premise, but Tati elevates it with his commitment and charm. Here, Tati is very much a one-man show, channeling Charlie Chaplin and Buster Keaton. He gets knocked about in all kinds of ways, showing off his skill at pratfalls, and has a side-splitting scene where he attempts to intimidate his opponent by imitating a chicken. It's thoroughly ridiculous in the best way.
6 'School for Postmen' (1947)
The wacky misadventures of a hapless postman
School for Postmen follows the comedic journey of François (Tati), a bumbling postman-in-training who finds himself entangled in a series of escapades while learning the ropes of his new profession. Under Tati's masterful direction, the mundane task of mail delivery transforms into a delightful spectacle filled with quirky characters and clever visual gags.
Armed with just his bicycle, the poor François must grapple with narrow streets, mischievous dogs, and eccentric locals. This is made all the more difficult by the fact that he's a terrible cyclist. The bicycle is a key prop here, forming the centerpiece for many of the jokes and stunts. The short marked Tati's directorial debut, with him also assuming the roles of writer and lead actor, and it's impressive for a first-time filmmaker. It exudes unbridled joy, especially an affection for rural France, hinting at the more accomplished projects Tati would go on to make.
5 'Trafic' (1971)
A comedic critique of modern transportation
Trafic is Tati's satire of modern transportation. The film follows the lovably clumsy Monsieur Hulot (Tati) on a journey to deliver a newly designed camper van from Paris to an international auto show in Amsterdam. Along the way, Hulot and his team encounter a series of obstacles and mishaps, from traffic jams and road accidents to bureaucratic red tape and malfunctioning vehicles. Once again, Hulot comes across as a congenial victim of chaos, often inadvertently contributing to the disorder surrounding him.
Following the commercial disappointment of Tati's Playtime, Trafic represented a more scaled-back, budget-friendly approach to feature filmmaking for the director. While it lacks the earlier movie's big canvas and elaborate on-screen world, it's on the same level thematically, with a ton of well-aimed jabs. It's a little looser, a little less focused, but that's also its charm. Trafic is a late-career Tati gem, exemplifying his impeccable comedic timing, mastery of visual humor, and wry observation of technology's absurdities.
4 'Jour de Fête' (1949)
Tati's confident feature debut
"I guess I lost my head." Jour de Fête (meaning The Big Day) was Tati's feature debut, in which he reprises the role of affable, cycling postman François. After a traveling fair rolls into town, François becomes enamored with the efficiency of American postal workers he sees in a documentary. The men running the fair decide that François must emulate the US Postal Service's methods, sparking a series of comic misadventures as he tries to modernize the postal service in his small town.
The film is a visual comedy drawing on classic silent cinema, using very little dialogue. When sound does play a role, Tati utilizes it effectively, as in the sound effects and ambient noises. Thematically, Jour de Fête touches on many of the key themes that would preoccupy Tati's filmography, like the simple joys of the countryside and the fading of traditions in the face of modernity. We see that here in the picaresque setting of a rural town, with many of the actual townsfolk appearing as extras. Taken together, it makes for a sweet, funny, thoughtful film.
3 'Monsieur Hulot's Holiday' (1953)
Monsier Hulot at his most charming
"Don't look for a plot, for a holiday is meant purely for fun, and if you look for it, you will find more fun in ordinary life than in fiction." In this one, Monsieur Hulot takes a vacation at a bustling beachside hotel. Through a series of episodic encounters with fellow guests and the local community, Hulot inadvertently creates chaos and laughter wherever he goes, much to the chagrin of the hotel staff and the amusement of the other holidaymakers. This time around, there are seamlessly choreographed sight gags involving dogs, boats, firecrackers, and more.
Monsieur Hulot's Holiday is very much an homage to the slapstick comedy of Chaplin and Keaton but filtered through Tati's own idiosyncratic perspective. In contrast to those silent clowns, he focuses less on plot and pacing and more on scenes and moments. As a result, the film can feel a little aimless and disjointed. Some viewers may not appreciate this but, for others, it's precisely what they love about Tati's work.
2 'My Uncle' (1958)
Tati's first foray into color filmmaking
My Uncle centers on Hulot's interactions with his young nephew Gérard (Alain Bécourt) and the comical chaos that ensues when Hulot visits his sister's ultra-modern home. As Hulot tries to navigate the maze of automated contraptions and sterile decor, he inadvertently disrupts the meticulously planned routines of his sister's family and their affluent neighbors. Through a series of whimsical vignettes and slapstick set pieces, Tati contrasts Hulot's simple, carefree approach to life with the rigidity of modern society.
Hulot's bumbling stands out even more against such a neat, conformist, and geometrically perfect backdrop. However, the main attraction is his physical comedy. The movie sometimes drags when leaning too much into the setting, but Tati is always a treat to watch. He's on top form here, winning the Oscar for Best Foreign Language Film for his efforts. His performance, coupled with the vibrant visuals (this was his first color film) and a pleasant score make this a great starting point for those new to Tati's filmography.
1 'Playtime' (1967)
A satirical masterwork
"How do you say 'drugstore' in French?" Widely considered Tati's masterpiece, Playtime represents his most potent fusion of visual comedy and social satire. Set in a futuristic Paris, the movie follows Hulot as navigates a maze of modernist architecture and technological marvels. Along the way, he encounters various absurdities of modern life, from malfunctioning gadgets to sterile corporate environments. In the process, Tati critiques the dehumanizing effects of urbanization and consumerism, all while delivering a delightful array of gags.
This is by far Tati's grandest project, with a massive budget and extensive sets that took years to design and construct. It's filled to the brim with creativity and enthusiasm for the medium: you can sense how much fun Tati was having with the resources at his disposal. Unfortunately for Tati, the movie was not appreciated on release and performed poorly at the box office. However, its critical standing has improved dramatically over the intervening decades. It's now frequently ranked among the greatest films of all time.
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