FILMOGRAPHY

  • 1935 Gai dimanche (short) 1947 L'école des facteurs (short) 1949 Jour de fête 1953 Les vacances de Monsieur Hulot 1958 Mon oncle 1967 Playtime 1971 Trafic 2002 Forza Bastia (kısa documentary)

  • FILMS SHOWN IN FESTIVAL ON WHEELS

  • Mr. Hulot's Holiday
    (Mr. Hulot's Vacation Mr. Hulot's Vacation)
    My uncle
    (My uncle)

Jacques Tati

Jacques Tati was born in 1908. he studied arts and engineering. He restored the art of visual comedy, bringing out a new density and brilliance of detail, a new clarity of composition. He is one of the few film artists-the others would include Griffith, Eisenstein, Murnau, Bresson- who can be said to have transformed the medium at its most basic level, to have found a new way of seeing. Tati entered the French music hall circuit of the early 1930s; his act consisted of pantomime parodies of the sports stars of the era. Several of his routines were filmed as shorts and were expanded into a feature, Jour de Fete. The satiric theme that runs through all of Tati's work -the coldness of modern technology- is already well developed, but more important, so is his visual style. Tati took four years to make his new film, Mr. Hulot's Holiday, which introduced the character he was to play for the rest of his career. The warmth of the characterization, plus the radiant inventiveness of the sight gags, made Mr. Hulot an international success. Hulot is not a comedian, in the sense of being the source and focus of the humour; rather, an attitude, a signpost, a perspective that reveals the humour in the world around him. Mon Oncle is a transitional film; though Hulot had abdicated his star status, he is still singled out among the characters prominent, but strangely marginal. With Playtime, released after nine years of expensive, painstaking production, Tati's intentions became clear. Hulot was now merely one figure among many, weaving in and out of the action much like the Mackintosh Man in Joyce's Ulysses; just as Tati the actor refuses to use his character to guide the audience to use close-ups, emphatic camera angles, or montage to guide the audience to the humour in the images. But audiences used to being told what to see, found the freedom of Playtime oppressive. Tati has passed away in 1982.