Monsieur Hulot wandert gleichzeitig mit einer Gruppe amerikanischer Touristen auf Urlaubsreise neugierig durch ein hochtechnologisches Paris. Währenddessen bereitet ein Nachtklub/Restaurant ... Alles lesenMonsieur Hulot wandert gleichzeitig mit einer Gruppe amerikanischer Touristen auf Urlaubsreise neugierig durch ein hochtechnologisches Paris. Währenddessen bereitet ein Nachtklub/Restaurant seinen Eröffnungsabend vor, obwohl es sich noch im Bau befindet.Monsieur Hulot wandert gleichzeitig mit einer Gruppe amerikanischer Touristen auf Urlaubsreise neugierig durch ein hochtechnologisches Paris. Währenddessen bereitet ein Nachtklub/Restaurant seinen Eröffnungsabend vor, obwohl es sich noch im Bau befindet.
- Regie
- Drehbuch
- Hauptbesetzung
- Auszeichnungen
- 2 Gewinne & 1 Nominierung insgesamt
- La compagne de M. Schultz
- (as Rita Maïden)
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One thing that many seem to miss is the physical setting for virtually the entire film, which is in and around international-style architecture. Tati continually pokes fun at it, demonstrating how inhumane much of it is in practice. Although idealistic and pure in some sense and appreciated for that (consider Philip Johnson's Glass House in New Canaan), it is often better looked at or visited than lived in.
From one viewpoint, the entire film can be seen as a criticism of that architectural school. It may be the only film that concentrates its energy on architectual criticism.
Some people say it's not funny despite being classified as a comedy. And they would be correct if it was a movie. It's not. But among comedy paintings it might be the funniest one.
I wasn't amused during watching it. And you most likely won't be as well. Because paintings aren't amusing/funny/entertaining. Paintings serve a different purpose. Art serves a different purpose.
So if your favourite movie is from Marvel or any other mainstream studio, stay away from Playtime. It isn't for you. You won't enjoy it.
If you enjoy art museums give it a shot. You might like it.
"Playtime" is notable for its enormous set, which Tati had built specially for the film, as well as Tati's trademark use of subtle, yet complex visual comedy supported by creative sound effects; dialogue is frequently reduced to the level of background noise.
The office set anticipated the dominance of office cubicle arrangements by some twenty years. The set was redressed for the trade exhibition sequence. Tati wanted the film to be in color but look like it was filmed in black and white. He succeeded.
This is a great film. With or without the plot, with or without the comedy, it is great on the architecture alone. Few films really capture "architecture" in them, with only one other coming to mind: "Metropolis". That is how rare this film is, being the first of its kind in forty years.
Sometimes it's hard to watch and understand films from another time, but Playtime is a completely different concept and worth watching, but if you're expecting the standard "good story" style of 99% films today, you won't find it here, and should probably refrain.
It's a film to be watched many times, like a painting hanging on the wall. Every time you watch it, a different detail will come up, a different story will appear, and every scene is just there to tell you things. It's up to each one to interpret them and they can be as boring, interesting, funny or sad as you want.
It's also a nice movie to watch with other people: each one will laugh and react at different things. It's funny to interact and try to "recreate" the entire action.
Finally, I agree with people saying that it should be watched on a big screen with high quality. There's so much detail in the shots that you will miss a lot if you don't have the right setup. I would say FullHD is the minimum acceptable, along with a big screen.
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- WissenswertesThe elaborate set of Tativille had its own roads, electrical systems, and (in one of the office buildings) a fully working elevator.
- PatzerThe escalator handrails aren't moving in the airport scene. The actors skim their hands along pretending it's moving, when you can see by reflections of its surface that it is indeed not.
- Zitate
Barbara, Young Tourist: How do you say "drugstore" in French?
Monsieur Hulot: Drugstore.
- Crazy CreditsThe title isn't shown until the end of the opening credits. Additionally, there are no end credits. The final shot simply fades out and there is about a minute of exit music.
- Alternative VersionenThe first cut of the film ran 155 minutes with intermission and exit music. This version, which ran for six months, was edited down by Tati himself to 135 minutes based on audience reactions. It was released on 70 mm with 6-Track sound. In the US the film was released with a running time of 93 min. and 1-Track mono sound. Other versions ran between 108-120 min. and were released on 35 mm with 4-Track Stereo sound (quadraphonic). When the film was re-released in France of 1978, cinemas refused to screen the film if it was over two hours long so Tati edited it down to 119 minutes. In 2002 the film was restored a length of 124 minutes based on two surviving copies of the 135 minute cut. It premiered at the Cannes Film Festival in 2002 and is the version that is widely available since.
- VerbindungenEdited into Damned! Daney (1991)
- SoundtracksL'Opéra des Jours Heureux
Music by Francis Lemarque
Lyrics by Francis Lemarque
Performed by Francis Lemarque
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Details
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- Playtime
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Box Office
- Budget
- 15.000.000 FRF (geschätzt)
- Weltweiter Bruttoertrag
- 66.537 $
- Laufzeit2 Stunden 35 Minuten
- Seitenverhältnis
- 1.85 : 1