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Jacques Tati’s masterpiece, 1967’s Playtime, is an extraordinarily ambitious work of visual comedy and social satire. Mike’s been keen to see this for fifteen years or more, knowing of its reputation for detailed visual design and the 70mm cinematography that shows it off, waiting for the right moment. José, when Mike suggests we watch it, thinks he’s seen it many years ago, but soon realises he was probably thinking of Monsieur Hulot’s Holiday, Tati’s rather more charming comedy of fourteen years prior, so it takes him a while to get into Playtime‘s rather more offbeat gear.
And he is ultimately a little cold to the film, though not immune to its appeal and pleasures, while Mike loves it unconditionally. In a somewhat alternate, near-future Paris, the plot, such as it is, follows two characters: Monsieur Hulot, the character Tati played in several films, as he stumbles through a France he finds unfamiliar and devoid of humanity; and Barbara, an American tourist visiting the city. In approximately six fairly distinct vignettes, Tati explores a vision of a consumerist, modern, and alienating Paris, the Eiffel Tower, symbolising the warm, cosy Paris of old, a long way away, merely a distant feature on the horizon or a reflection in a window. It’s an attitude for which José has little sympathy, though Mike suggests that the development of the final scene, a kind of funfair around a traffic jam, can be seen as a synergy of the traditional and modern, and finds it moving.
There’s a huge amount to discuss, including the design and execution of the jokes; the impossible scale of the set, nicknamed ‘Tativille’ and whose astronomical cost would ruin Tati, who was forced to file for bankruptcy; to what other films, if any, it can be compared; the visual design, cinematography, choreography, and colour; the use of nationality, particularly American; and how the film might play differently today compared to upon its initial release – Mike arguing that it may have anticipated changes to the real world that would later materialise, such as the cubicle office, whose familiarity to us diminishes the otherworldliness we might otherwise feel.
Playtime is a significant work of satire and well worth seeing, particularly given its beautiful restoration in 2014. Don’t miss it for fifteen years. Don’t be Mike.
With José Arroyo of First Impressions and Michael Glass of Writing About Film.