Original poster design by Jerzy Flisak (1967)
Jacques Tati’s gloriously choreographed, nearly wordless comedies about confusion in the age of technology reached their creative apex with Playtime. This film was a monumental achievement haved taken nearly three-years to film, breaking the bank with production costs. Tati thrusts the endearingly clumsy but resolutely old-fashioned Monsieur Hulot, a character who had appeared in some of his earlier films, along with a host of other lost souls, into a bafflingly modernist Paris. With every inch of its superwide frame crammed with hilarity and inventiveness, Playtime is a lasting testament to a modern age tiptoeing on the edge of oblivion. (source: Criterion)
In Playtime, Tati’s character, M. Hulot, and a group of American tourists attempt to navigate a futuristic Paris constructed of straight lines, modernist glass and steel high-rise buildings, multi-lane roadways, and cold, artificial furnishings. In this environment, only the irrepressible nonconformity of human nature and an occasional appreciation for the good old days breathe life into an otherwise sterile urban lifestyle. Modern industrial technologies, accepted as necessary by society, are represented by Tati as obstructions to daily life and an interference to natural human interaction. (source: Wikipedia)
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