The last film of M. Hulot is capable of generating mixed reactions, as Tati tries to reconstruct his own character, in keeping with the times, a character who now has fixed goals and a stable job that he has managed to stick with. In this movie we see M.Hulot getting involved in far more than he has ever been, trying to desperately make the auto show in Amsterdam from Paris. Not that he handles it any better, the man inside him hasnt quite changed, and through this work, Tati provided a fitting and melancholic closure to probably himself, for Hulot was Tatis inner essence. Much like the rejection of Playtime had broken his belief and changed his way of thought, Hulot too reflects that as a character, and heartrendingly so. The sight gags are there in full glory, albeit a bit toned down by the change of style. Theres a fantastic accident sequence, and how ironic, that an accident sequence should deserve Tatis best, a man who once choreographed stunning parties and holidays. In my opinion this is an extremely complex film, a movie that is deliberately emptier than the previous ones, a movie that self knowingly strands the viewer nowhere, making him/her wonder whats missing, a movie that makes you realize what is lost. And it is a busy, bustling tale that will end in a touching note, reminding everybody how important it is to never lose your joie de vivre. If there is any way Hulot should have gone, it was this, leaving a sort of thirst that was not quenched, and and emptiness that is hard to fill. PS: Also, Paris gets its fair share of sarcasm from Jacques Tati, the nose picking and the yawning sequences being timelessly compiled. What a man.
Posted on: Sun, 27 Oct 2013 17:04:53 +0000
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