"Clément was first approached to direct ""L'École des facteurs"", but as he was preoccupied directing ""La Bataille du rail"", directing duties fell to Tati, who would also star in this short comedy of rural life. Encouragingly, L'École des facteurs was enthusiastically well received upon release, winning the Max Linder Prize for film comedy in 1947. Tati's first major feature, ""Jour de fête"" (""The Big Day""), is about an inept rural village postman who interrupts his duties to inspect the traveling fair that has come to town. Influenced by too much wine and a documentary on the rapidity of the American"
"Jacques Tati Jacques Tati (; born Jacques Tatischeff, ; 9 October 1907 – 5 November 1982) was a French filmmaker, actor, and screenwriter. Throughout his long career, he worked as a comic actor, writer, and director. In a poll conducted by ""Entertainment Weekly"" of the Greatest Movie Directors, Tati was voted the 46th greatest of all time. With only six feature-length films to his credit as director, he directed fewer films than any other director on this list of 50. Tati's ""Playtime"" (1967) ranked 43rd in the 2012 ""Sight & Sound"" critics' poll of the greatest films ever made. As"
"popular French culture. It is based on an unproduced script that Jacques Tati had written in 1956 as a personal letter to his estranged eldest daughter, and stars an animated version of Tati himself. It was originally conceived by Tati as a journey of love and discovery that takes two characters across western Europe to Prague. Chomet says that ""Tati wanted to move from purely visual comedy and try an emotionally deeper story"" and states that ""It's not a romance, it's more the relationship between a dad and a daughter"". It cost an estimated £10 million to make, and was"
"French films of all time. On Rotten Tomatoes, the film holds an approval rating of 100% based on , with a weighted average rating of 8.4/10. Jour de fête Jour de fête (""The Big Day"") is a 1949 French comedy film starring Jacques Tati in his feature film directional debut as an inept and easily distracted mailman in a backward French village. Shot largely in and around Sainte-Sévère-sur-Indre, where Tati had lived during the Occupation, most of the actors were unknown and villagers served as extras. On a public holiday, the village square hosts a little travelling fair and cinema"
"and resolved to return one day to make a film there. The film was widely praised by critics, and earned Tati an Academy Award nomination for Best Original Screenplay, which was shared with Henri Marquet. Production of the movie would also see the reintroduction of Jacques Lagrange into Tati's life, beginning a lifelong working partnership with the painter, who would become his set designer. Les Vacances de Monsieur Hulot remains one of the best-loved French films of that period. The film's comic influence has extended well beyond France and can be found as recently as 2007 in the Rowan Atkinson"
"either directed or starred in. Gai dimanche Gai dimanche (""Fun Sunday"") is a 1935 three reel film written by and starring Jacques Tati and his friend Rhum. The pair star as down-and-outs who try to generate funds by providing an impromptu leisure tour in a rickety bus they wrangle use of for free. Released in 1935 and rarely seen today, the film offers brief glimpses and hints towards methods Tati would begin to perfect in his films more than a decade later. The short was included in the Criterion Collection's ""The Complete Jacques Tati"" box set, in a disc containing"
"devised a way of being both the player, the ball and the tennis racquet, of being simultaneously the football and the goalkeeper, the boxer and his opponent, the bicycle and the cyclist. Without any props, he conjures up his accessories and his partners. He has suggestive powers of all great artists. How gratifying it was to see the audience's warm reaction! Tati's success says a lot about the sophistication of the allegedly ""uncouth"" public, about its taste for novelty and its appreciation of style. Jacques Tati, the horse and rider conjured, will show all of Paris the living image of"
"Monsieur Hulot (played by Tati himself), as he joins the ""newly emerging holiday-taking classes"" for a summer vacation at a modest seaside resort. The film affectionately lampoons several hidebound elements of French political and economic classes, from chubby capitalists and self-important Marxist intellectuals to petty proprietors and drab dilettantes, most of whom find it nearly impossible to free themselves, even temporarily, from their rigid social roles in order to relax and enjoy life. The film also gently mocks the confidence of postwar western society in the optimistic belief in capitalist production, and the value of complex technology over simple pleasures,"
"in a way he's a kindred soul... That guy is so creative, it's unbelievable. I think he's one of the all-time greats."" Considered by many his masterpiece, ""Play Time"" (1967), shot in 70mm, was to be the most ambitious yet risky and expensive work of Tati's career. ""After the success of Mon Oncle in 1958, Jacques Tati had become fed up with Monsieur Hulot, his signature comic creation. With international renown came a growing dissatisfaction with straightforward scenarios centered around one lovable, recognizable figure. So he slowly inched his way toward a new kind of film, a supremely democratic film"
"Mon Oncle Mon Oncle (; My Uncle) is a 1958 comedy film by French filmmaker Jacques Tati. The first of Tati's films to be released in colour, ""Mon Oncle"" won the Academy Award for Best Foreign Language Film, a Special Prize at the 1958 Cannes Film Festival, and the New York Film Critics Circle Award for Best Foreign Language Film, receiving more honors than any of Tati's other cinematic works. The film centers on the socially awkward yet lovable character of Monsieur Hulot and his quixotic struggle with postwar France's infatuation with modern architecture, mechanical efficiency and consumerism. As with"
"at a minimum, and it is used just to satirize the silly and pointless things that summer people say. Sounds of all sorts become firecrackers, tossed in for comical point."" Tati biographer David Bellos has described the film as ""Sublime,"" and said that, ""It was through this film that I first fell in love with France. I think that is true of a lot of people."" The journalist Simon O'Hagan, writing on the occasion of the film's 50th anniversary in 2003, wrote that the film, ""might contain the greatest collection of sight gags ever committed to celluloid, but it is"
"pushed them all. Mr. Hulot [as played by Tati] is the focus of amusement, not electrical doors and machines that squeeze out plastic hose."" Crowther noted that its style of humor ""was done superbly more than twenty-five years ago by René Clair in ""À Nous la Liberté"" and afterward by Charlie Chaplin in ""Modern Times""."" ""Variety"" said that although it was ""somewhat long for a comedy, Jacques Tati's film has inventiveness, gags, warmth and a 'poetic' approach to satire""; they complimented the film's ""expert blocking out of the characters, creative use of sound, and eschewing of all useless dialog."" Mon"
"Jour de fête Jour de fête (""The Big Day"") is a 1949 French comedy film starring Jacques Tati in his feature film directional debut as an inept and easily distracted mailman in a backward French village. Shot largely in and around Sainte-Sévère-sur-Indre, where Tati had lived during the Occupation, most of the actors were unknown and villagers served as extras. On a public holiday, the village square hosts a little travelling fair and cinema tent. Among the locals introduced is François, the amiable and bumbling mailman, who everybody likes but nobody takes seriously. Marcel and Roger, the two men running"
"Trafic Trafic (""Traffic"") is a 1971 Italian-French comedy film directed by Jacques Tati. ""Trafic"" was the last film to feature Tati's famous character of Monsieur Hulot, and followed the vein of earlier Tati films that lampooned modern society. Tati's use of the word ""trafic"" instead of the usual French word for car traffic (""la circulation"") may derive from a desire to use the same franglais he used when he called his previous film ""Play Time"", and the primary meaning of ""trafic"" is ""exchange of goods"", rather than ""traffic"" per se. The word ""Trafic"" was subsequently used for a light utility"
"great effect in German Expressionist film. Silent film comedians like Charlie Chaplin, Harold Lloyd, and Buster Keaton learned the craft of mime in the theatre, but through film, they would have a profound influence on mimes working in live theatre decades after their deaths. Indeed, Chaplin may be the best-documented mime in history. The famous French comedian, writer, and director Jacques Tati achieved his initial popularity working as a mime, and indeed his later films had only minimal dialogue, relying instead on many subtle expertly choreographed visual gags. Tati, like Chaplin before him, would mime out the movements of every"
"Gai dimanche Gai dimanche (""Fun Sunday"") is a 1935 three reel film written by and starring Jacques Tati and his friend Rhum. The pair star as down-and-outs who try to generate funds by providing an impromptu leisure tour in a rickety bus they wrangle use of for free. Released in 1935 and rarely seen today, the film offers brief glimpses and hints towards methods Tati would begin to perfect in his films more than a decade later. The short was included in the Criterion Collection's ""The Complete Jacques Tati"" box set, in a disc containing several short films that Tati"
"company Cady-Films, which would produce Tati's first three films. With the exception of his first and last films, Tati played the gauche and socially inept lead character, Monsieur Hulot. With his trademark raincoat, umbrella and pipe, Hulot is among the most memorable comic characters in cinema. Several themes recur in Tati's work, most notably in ""Mon Oncle"", ""Play Time"" and ""Trafic"". They include Western society's obsession with material goods, particularly American-style consumerism, the pressure-cooker environment of modern society, the superficiality of relationships among France's various social classes, and the cold and often impractical nature of space-age technology and design. René"
""""" at the Cinémathèque Française in Paris, for which she is co-curator along with , and installed the full-scale mythical Villa Arpel, the set of ""Mon Oncle"" created by Jacques Tati and his friend , at the 104 (Paris, 19th arrondissement). In 2014 Les Films de Mon Oncle formed a partnership with ""StudioCanal"", entitled ""Vivendi"", who now oversee international distribution of the oeuvre of Jacques Tati, having released digitally restored versions of all his short and long films as boxsets in both DVD and Blu-Ray. Jacques Tati Jacques Tati (; born Jacques Tatischeff, ; 9 October 1907 – 5 November"
"viewed as a reactionary or even ""poujadiste"" view of an emerging French consumer society, which had lately embraced a new wave of industrial modernization and a more rigid social structure. However, this criticism soon gave way in the face of the film's huge popularity in France and abroad – even in the U.S., where rampant discretionary consumption and a recession had caused those on both the right and the left to question the economic and social values of the era. The film was another big success for Tati with a total of 4,576,928 admissions in France. M. Hulot (Jacques Tati)"
"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. ""Playtime"" is considered Tati's masterpiece, as well as his most daring work. ""Playtime"" is structured in six sequences, linked by two characters who repeatedly encounter one another in the course of a day: ""Barbara"", a young American tourist visiting Paris with a group composed primarily of middle-aged American women, and ""Monsieur Hulot"", a befuddled Frenchman lost in the new"
"22 June 1940. Returning to Paris, Tati resumed his civilian profession as a cabaret performer, finding employment at Léon Volterra's Lido de Paris, where he performed his ""Sporting Impressions"" from 1940 to 1942. Considered as a possible substitute for Jean-Louis Barrault in ""Les Enfants du Paradis"", he played the ghost in ""Sylvie and the Ghost"" (""Sylvie et le fantôme"") (Claude Autant-Lara appeared as Sylvie) and also appeared as The Devil in the same film. Here he met Fred Orain, studio director of St. Maurice and the Victorine in Nice. In early 1946 Jacques Tati and Fred Orain founded the production"
"de la Cinématographie) archives under the title 'Film Tati Nº 4', written in the late 1950s, the treatment was to have been the follow-up to Tati's internationally successful ""Mon Oncle"". It tells the bittersweet tale of a modestly talented magician – referred to only as the Illusionist – who, during a tour of decaying music halls in Eastern Europe, protectively takes an impoverished young woman under his wing. The semi-autobiographical script that Tati wrote in 1956 was released internationally as an animated film, ""The Illusionist"", in 2010. Directed by Sylvain Chomet, known for ""The Triplets of Belleville"", the main character"
"themes that would resurface in his later films. For the most part, in ""Les Vacances,"" spoken dialogue is limited to the role of background sounds. Combined with frequent long shots of scenes with multiple characters, Tati believed that the results would tightly focus audience attention on the comical nature of humanity when interacting as a group, as well as his own meticulously choreographed visual gags. However, the film is by no means a 'silent' comedy, as it uses natural and man-made sounds not only for comic effect but also for character development. The film was made in both French and"
"to work in the French film industry in various capacities, beginning in the early 1970s. Notably, they both worked on Jean-Pierre Melville's last film, ""Un flic"" (1972). Weakened by serious health problems, Tati died on 5 November 1982, of a pulmonary embolism, leaving a final scenario called ""Confusion"" that he had completed with Jacques Lagrange. In ""Paris Match"", Philippe Labro reported the death of Jacques Tati under the heading, ""Adieu Monsieur Hulot. On le pleure mort, il aurait fallu l'aider vivant !"" (""Farewell, Monsieur Hulot. We mourn him in his death, but we should have aided him while he was"
"to give the comic business a sense of purpose.” The film was released on DVD by The Criterion Collection on 15 July 2008, in a special edition double-disc set, and on Blu-ray on 28 October 2014 as a part of ""The Complete Jacques Tati"". Trafic Trafic (""Traffic"") is a 1971 Italian-French comedy film directed by Jacques Tati. ""Trafic"" was the last film to feature Tati's famous character of Monsieur Hulot, and followed the vein of earlier Tati films that lampooned modern society. Tati's use of the word ""trafic"" instead of the usual French word for car traffic (""la circulation"") may"
"Ghatak's film remained obscure while Truffaut's went on to become one of the most famous of the French New Wave. One of Ghatak's final films, ""Titash Ekti Nadir Naam"" (1973), is one of the earliest to be told in a hyperlink format, featuring multiple characters in a collection of interconnected stories, predating Robert Altman's ""Nashville"" (1975) by two years. Ghatak's only major commercial success was ""Madhumati"" (1958), a Hindi film which he wrote the screenplay for. It was one of the earliest to deal with the theme of reincarnation and is believed to have been the source of inspiration for"
"L'Idéal Cinéma Jacques Tati L'Idéal Cinéma Jacques Tati is a movie theater in Aniche, France, and is claimed to be the oldest active public movie theater in the world. The building was originally constructed for La Chambre Syndicale des Verriers (Glass Workers Union), and inaugurated as the local headquarters of the General Confederation of Labour (CGT) on 26 January 1902. The theater's first public film performance took place on 23 November 1905. Since then, the building has been renovated several times. At the turn of the 20th century, Aniche was a town with a population of about 8000 that was"
"Les Vacances de Monsieur Hulot Les Vacances de Monsieur Hulot (; released as Monsieur Hulot's Holiday in the US) is a 1953 French comedy film starring and directed by Jacques Tati. It introduced the pipe-smoking, well-meaning but clumsy character of Monsieur Hulot, who appears in Tati's subsequent films, including ""Mon Oncle"" (1958), ""Playtime"" (1967), and ""Trafic"" (1971). The film gained an international reputation for its creator when released in 1953. The film was very successful as it had a total of 5,071,920 admissions in France. ""Les Vacances de Monsieur Hulot"" follows the generally harmless misadventures of a lovable, gauche Frenchman,"
"Keaton reportedly said that Tati's work with sound had carried on the true tradition of silent cinema. As guest artistic director at AFI FEST 2010, David Lynch selected Tati's ""Mon Oncle"" alongside ""Hour of the Wolf"" (Dir Ingmar Bergman), ""Lolita"" (Dir Stanley Kubrick), ""Rear Window"" (Dir Alfred Hitchcock) and ""Sunset Boulevard"" (Dir Billy Wilder) to be screened in his sidebar program, explaining that, ""I picked these particular films because they are the ones that have inspired me most. I think each is a masterpiece."" Of Tati, Lynch would add in a conversation with Jonathan Rosenbaum, ""You know, I feel like"
"pump, the film introduces what would be a key theme of Tati's films. Instead of rounded individuals rooted in communities, changes in Western society were turning people into operators of technology and consumers of its products. Though much of this trend originated in the USA, France was catching up fast. Critics have noted how Tati turns the human body, with its inbuilt limitations, into a form of machine that performs tasks. A hidden factor in this and following films is that the old world of rural France is shown as one of curves, in space and in time, with people"
"cherishes."" The film was entered into the 1953 Cannes Film Festival. Les Vacances de Monsieur Hulot Les Vacances de Monsieur Hulot (; released as Monsieur Hulot's Holiday in the US) is a 1953 French comedy film starring and directed by Jacques Tati. It introduced the pipe-smoking, well-meaning but clumsy character of Monsieur Hulot, who appears in Tati's subsequent films, including ""Mon Oncle"" (1958), ""Playtime"" (1967), and ""Trafic"" (1971). The film gained an international reputation for its creator when released in 1953. The film was very successful as it had a total of 5,071,920 admissions in France. ""Les Vacances de Monsieur"
"David Bellos puts it, ""Tati, from ""l'Ecole des facteurs"" to ""Playtime"", is the epitome of what an ""auteur"" is (in film theory) supposed to be: the controlling mind behind a vision of the world on film"". Jacques Tati was of Russian, Dutch, and Italian ancestry. His father, George Emmanuel Tatischeff, born in 1875 in Paris (d. 1957), was the son of Dmitry Tatishchev (Дмитрий Татищев), General of the Imperial Russian Army and military attaché to the Russian Embassy in Paris. The Tatischeffs (also spelled Tatishchev) were a Russian noble family of patrilineal Rurikid descent. Whilst stationed in Paris Dmitri Tatischeff"
"Animated Feature. It was nominated for Best Animated Feature Film in the 83rd Academy Awards, but lost to ""Toy Story 3""; and an Annie Award for Best Animated Feature, losing to ""How to Train Your Dragon"". The Illusionist (2010 film) The Illusionist () is a 2010 French-British animated film directed by Sylvain Chomet. The film is based on an unproduced script written by French mime, director and actor Jacques Tati in 1956. Controversy surrounds Tati's motivation for the script, which was written as a personal letter to his estranged eldest daughter, Helga Marie-Jeanne Schiel in collaboration with his long-term writing"