Monsieur Hulot passeia por uma Paris tecnológica, paralelamente a uma viagem com um grupo de turistas americanos. Enquanto isso, uma boate prepara sua noite de abertura, mas ainda está em co... Ler tudoMonsieur Hulot passeia por uma Paris tecnológica, paralelamente a uma viagem com um grupo de turistas americanos. Enquanto isso, uma boate prepara sua noite de abertura, mas ainda está em construção.Monsieur Hulot passeia por uma Paris tecnológica, paralelamente a uma viagem com um grupo de turistas americanos. Enquanto isso, uma boate prepara sua noite de abertura, mas ainda está em construção.
- Direção
- Roteiristas
- Artistas
- Prêmios
- 2 vitórias e 1 indicação no total
Rita Maiden
- La compagne de M. Schultz
- (as Rita Maïden)
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Avaliações em destaque
This is not a movie, it's art captured in film!
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.
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.
Others have commented about Tati's artistry and his sense of humour. I won't add to that.
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.
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.
Where 'Mon oncle' was Tati's initial statement on the modern and its collision with the old, here in 'Playtime' he reaches his conclusion. They can unite - there is beauty in the new, as well. Yes, what is new and alienating now, will soon be the old familiar tradition. Everything changes, but the spirit of things remain.
This he manages to show in a series of beautiful scenes, brilliant observations, in a Paris which has been rebuilt to the extent, where the old Frenchman doesn't find his way around it, anymore, and the Eiffel tower can only be found in reflections on shiny glass or steel surfaces of modern buildings.
This is a film language all of its own, and driven to a razor sharp perfection. Through Tati's eyes, we can see exactly what he both worries about and marvels at, and of course we feel the same. The love he does in all his movies show for people, no matter how silly they might be, he also shows the city itself, and its megalomaniac constructions. It's all crazy, he tells us, but isn't it great fun, too? Yes, Jacques, it is, indeed.
This he manages to show in a series of beautiful scenes, brilliant observations, in a Paris which has been rebuilt to the extent, where the old Frenchman doesn't find his way around it, anymore, and the Eiffel tower can only be found in reflections on shiny glass or steel surfaces of modern buildings.
This is a film language all of its own, and driven to a razor sharp perfection. Through Tati's eyes, we can see exactly what he both worries about and marvels at, and of course we feel the same. The love he does in all his movies show for people, no matter how silly they might be, he also shows the city itself, and its megalomaniac constructions. It's all crazy, he tells us, but isn't it great fun, too? Yes, Jacques, it is, indeed.
This is the first Tati film I've seen, but I've heard quite a lot about him. I saw the 70mm reprint with high expectations and was not disappointed.
This is a movie that leads the viewer where it feels like going. It has it's own rhythm and path. Just as circumstance beyond Mr. Hulot's control takes him wherever he may go, the camera seems to follow the same kind of path. The viewer doesn't know where it's going, and the viewer doesn't know where exactly it wants to go. The great thing about this movie is that it doesn't follow Mr. Hulot exclusively. The camera behaves the same way without needing to follow Mr. Hulot. He moves where he goes, the tour group moves where they go, and the camera moves where it may go. The world around them and the viewer dicates it in the most unconscious kind of way.
The first part of the movie is a satire on the inhuman world we've built around us. Mr. Hulot tries to navigate it, but the world won't sit still. Everything moves around without him and he can't find anything. Just like he is moved around, so is the object of his desire, whatever it may be at the moment. But Mr. Hulot doesn't mind, he goes along with it and enjoys it all the way, just like the viewer.
In another Tati movie, Mr. Hulot's Vacation, there is a scene where he's resting on a beach, and his drink floats away with a wave and floats back just as he reaches for it. That's how this movie is. Everything might not exactly go as people hope or plan, but it goes it's own way. Not everything goes as planned, but Mr. Hulot accepts it and so does the viewer. Rather than fight the world around him and force it to do what it wants, he takes joy in looking around and enjoying the ride, and what makes the movie so great is that so does the viewer. You might not know where things are going, but they do what they will and you enjoy watching things unfold.
This is a movie that leads the viewer where it feels like going. It has it's own rhythm and path. Just as circumstance beyond Mr. Hulot's control takes him wherever he may go, the camera seems to follow the same kind of path. The viewer doesn't know where it's going, and the viewer doesn't know where exactly it wants to go. The great thing about this movie is that it doesn't follow Mr. Hulot exclusively. The camera behaves the same way without needing to follow Mr. Hulot. He moves where he goes, the tour group moves where they go, and the camera moves where it may go. The world around them and the viewer dicates it in the most unconscious kind of way.
The first part of the movie is a satire on the inhuman world we've built around us. Mr. Hulot tries to navigate it, but the world won't sit still. Everything moves around without him and he can't find anything. Just like he is moved around, so is the object of his desire, whatever it may be at the moment. But Mr. Hulot doesn't mind, he goes along with it and enjoys it all the way, just like the viewer.
In another Tati movie, Mr. Hulot's Vacation, there is a scene where he's resting on a beach, and his drink floats away with a wave and floats back just as he reaches for it. That's how this movie is. Everything might not exactly go as people hope or plan, but it goes it's own way. Not everything goes as planned, but Mr. Hulot accepts it and so does the viewer. Rather than fight the world around him and force it to do what it wants, he takes joy in looking around and enjoying the ride, and what makes the movie so great is that so does the viewer. You might not know where things are going, but they do what they will and you enjoy watching things unfold.
Monsieur Hulot (Jacques Tati) curiously wanders around a high-tech Paris, paralleling a trip with a group of American tourists. Meanwhile, a nightclub/restaurant prepares its opening night, but it is still under construction.
"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.
"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.
Você sabia?
- CuriosidadesThe elaborate set of Tativille had its own roads, electrical systems, and (in one of the office buildings) a fully working elevator.
- Erros de gravaçãoThe 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.
- Citações
Barbara, Young Tourist: How do you say "drugstore" in French?
Monsieur Hulot: Drugstore.
- Cenas durante ou pós-créditosThe 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.
- Versões alternativasThe 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.
- ConexõesEdited into Damned! Daney (1991)
- Trilhas sonorasL'Opéra des Jours Heureux
Music by Francis Lemarque
Lyrics by Francis Lemarque
Performed by Francis Lemarque
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- How long is Playtime?Fornecido pela Alexa
Detalhes
- Data de lançamento
- Países de origem
- Central de atendimento oficial
- Idiomas
- Também conhecido como
- Playtime
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- Empresas de produção
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Bilheteria
- Orçamento
- FRF 15.000.000 (estimativa)
- Faturamento bruto mundial
- US$ 66.537
- Tempo de duração
- 2 h 35 min(155 min)
- Proporção
- 1.85 : 1
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