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Hilarious, dazzlingly inventive comedy in which Mr. Hulot tries to function in an unrecognizable Paris of modernistic glass-and-steel skyscrapers.
A remarkable achievement, Playtime's packs every scene with sight gags and characters that both celebrates and satirizes the urbanization of modern life.
Tati's despair is modulated by a sense of wonder.
For this remarkable 1967 comedy about man and his modern world, Jacques Tati attempted nothing less than a complete reworking of the conventional notions of montage and, amazingly, he succeeded.
... an accumulation of minor touches, little dissonances, imaginative observations, and pieces of creative business: hundreds of details that erupt with lives of their own but fit together like a clockwork mechanism with a human heartbeat.
Jacques Tati's 1967 masterpiece still holds up as a feast of subtle sight gags, playful noise and, above all, visual wonders.
My all-time favorite movie, this 1967 French comedy by actor-director Jacques Tati almost certainly has the most intricately designed mise en scene in all of cinema.
Jacques Tati's Playtime is an astringent antidote to Paris movies that are as sickly as macaroons and stuffed with views of the Eiffel Tower by night.
Pic takes to the 70mm process with an extraordinary impressionistic outdoor set of a new Paris, and is an observant romp during a one-day stay of a group of tourists.
Playtime is a peculiar, mysterious, magical film.
It took Jacques Tati close to ten years to realise his greatest achievement, but it left him virtually broke. No wonder.
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