Since I first watched PlayTime, I don't think there's been a day since where I haven't thought about it in some way. It's perfectly executed in every single way, so much thought and care went into everything from the comedy to the costumes to the sets to the social commentary and even background characters who reappear several times throughout the film. I don't know if there's any other film out there that uses extras in such a mind-blowing way as this one.
From the moment it starts, it gets you instantly pumped to see what's about to occur via the usage of a jazzy score, before submersing you into an almost otherworldly dystopian vision of Paris that severs that initial excitement in such a genius way. We as the viewer initially feel as lost and confused as Monsieur Hulot, Tati's beloved character, who leads much of the first hour of the film before being redefined as a background extra in the second half. When I first saw this film I was similarly left a little cold by this first act, before quickly realising the intended effect.
PlayTime is the perfect exercise in paying close attention to the screen - it holds near-infinite rewatch value, blink and you'll miss pieces of several ongoing subplots, several of which have some surprisingly heartwarming outcomes by the end. There's even a fun reference to Breathless hidden amongst the chaos during one scene. Tati's blocking is absolutely immaculate, there's not one close-up in sight and the choreography is just incredible with many of the characters deliberately acting like mindless passerbys who just consume whatever is presented to them. The production design is so detailed I can't even begin to list off how many inventive ideas this film is just exploding with. The 65mm cinematography paired with its cold colour palette is just perfect, the last 10 minutes have some of the most beautiful cinematic imagery I've ever seen.
The social commentary that this film is both making fun of and drawing attention to still rings true to the present day and, for the time, is actually very bold. It mocks consumerism by showing off these absolutely ridiculous inventions that seem to worringly become trendy to many background characters as the film progresses, it draws subtle attention to race issues whilst still maintaining a consistent unassuming tone and also brilliantly mocks over-simplified and unoriginal architecture through the usage of travel posters, where iconic locations are obscured by obtrusive skyscrapers. The sets of this film are just unbelievable, Tati bankrupted himself to ensure the authenticity of his world and it absolutely paid off.
And then we have the 50-minute long Royal Garden sequence, which to this day is my absolute favourite sequence in any film I have ever watched. It's absolutely perfect, not one thing needs altering. The chaos is built up in so many absolutely genius ways, through the joke setups, the pacing, the music - you have to see it for yourself to just immerse yourself in this masterful scene where basically everything the film has been setting up beforehand comes to a breathtaking crescendo, even before the film is over. It's also where one of the most defining highlights of this film is at its strongest - the sound design. The sound, like the perfectly choreographed visuals, draws your attention to several parts of the frame and it really heightens what would normally go unnoticed. The score is also wonderful, with many memorable motifs.
PlayTime is the most joyous city symphony I've ever watched. It's a film that demands your absolute attention. It's one of those films where everything about it feels so deliberate, precise and fine-tuned, with the director in absolute control of their craft. It's one of very few films where there is literally nothing wrong with it. I absolutely LOVE PlayTime, it's forever an all-time favourite of mine and there's still so much I haven't even mentioned. It's perfect, perfect, perfect.
From the moment it starts, it gets you instantly pumped to see what's about to occur via the usage of a jazzy score, before submersing you into an almost otherworldly dystopian vision of Paris that severs that initial excitement in such a genius way. We as the viewer initially feel as lost and confused as Monsieur Hulot, Tati's beloved character, who leads much of the first hour of the film before being redefined as a background extra in the second half. When I first saw this film I was similarly left a little cold by this first act, before quickly realising the intended effect.
PlayTime is the perfect exercise in paying close attention to the screen - it holds near-infinite rewatch value, blink and you'll miss pieces of several ongoing subplots, several of which have some surprisingly heartwarming outcomes by the end. There's even a fun reference to Breathless hidden amongst the chaos during one scene. Tati's blocking is absolutely immaculate, there's not one close-up in sight and the choreography is just incredible with many of the characters deliberately acting like mindless passerbys who just consume whatever is presented to them. The production design is so detailed I can't even begin to list off how many inventive ideas this film is just exploding with. The 65mm cinematography paired with its cold colour palette is just perfect, the last 10 minutes have some of the most beautiful cinematic imagery I've ever seen.
The social commentary that this film is both making fun of and drawing attention to still rings true to the present day and, for the time, is actually very bold. It mocks consumerism by showing off these absolutely ridiculous inventions that seem to worringly become trendy to many background characters as the film progresses, it draws subtle attention to race issues whilst still maintaining a consistent unassuming tone and also brilliantly mocks over-simplified and unoriginal architecture through the usage of travel posters, where iconic locations are obscured by obtrusive skyscrapers. The sets of this film are just unbelievable, Tati bankrupted himself to ensure the authenticity of his world and it absolutely paid off.
And then we have the 50-minute long Royal Garden sequence, which to this day is my absolute favourite sequence in any film I have ever watched. It's absolutely perfect, not one thing needs altering. The chaos is built up in so many absolutely genius ways, through the joke setups, the pacing, the music - you have to see it for yourself to just immerse yourself in this masterful scene where basically everything the film has been setting up beforehand comes to a breathtaking crescendo, even before the film is over. It's also where one of the most defining highlights of this film is at its strongest - the sound design. The sound, like the perfectly choreographed visuals, draws your attention to several parts of the frame and it really heightens what would normally go unnoticed. The score is also wonderful, with many memorable motifs.
PlayTime is the most joyous city symphony I've ever watched. It's a film that demands your absolute attention. It's one of those films where everything about it feels so deliberate, precise and fine-tuned, with the director in absolute control of their craft. It's one of very few films where there is literally nothing wrong with it. I absolutely LOVE PlayTime, it's forever an all-time favourite of mine and there's still so much I haven't even mentioned. It's perfect, perfect, perfect.