For all intents and purposes, this entire film is one long string of gags. So why is it so great? It's because director/star Jacques Tati is able to weave the gags into an overall story that riffs on many of the fond feelings folks have toward summer vacations as well as linking them to the central character Monsieur Hulot.
The film begins as vacationers arrive at a small seaside hotel for summer holiday. Hulot travels there in his old-fashioned automobile, which seems like it could bust apart at any moment. We don't even see Hulot until about 10 minutes into the film when his arrival through the front door wrecks havoc as the wind from outside disrupts the activities of the people relaxing in the lobby.
Almost like a Robert Altman film, he occasionally peeks in at the actions, routines and mishaps of other characters. We come to know them by their faces not their names. Martine (Nathalie Pascaud, only film performance) is the beautiful blonde, who literally inspires tents to become erect when she pops out of her window in the morning. There's an older couple (Rene Lacourt, 1940's TWO WOMEN, & Marguerite Gerard) that always arrive early for meals, and walk around the grounds with the husband just tailing his wife as they take in the world around them. There's a self-important man who wears a visor, who gets a just punishment when he peeks in on the pretty blonde as she changes. There's the Commandant (Andre Dubois, IXE-13), who is easily offended and loves to talk about his favorite subject -- himself. There's a nice English woman (Valentine Camax, LOVERS AND THIEVES), who takes a liking to Hulot. And we cannot forget about the hotel workers who seem to be always inches from running each other over.
For Monsieur Hulot everything that can go wrong does. However, it seems to be such a common experience for Hulot that he takes each mishap in stride. Tati plays the nearly silent character with a slight lean forward as if Hulot literally goes into every situation head first. Nothing seems to go as planned for Hulot, but isn't that the case with all vacations?
When reminiscing, we often remember the best and worst holiday experiences with the same fondness. This film captures that exact feeling perfectly. It does so by filling each frame with detail. The quick looks at various characters and situations make the audience almost experience the film like it is a collection of memories. When I think of the film, I even remember it like one remembers an experience from life. "Hey remember, when that guy did that?" "Remember when the girl was always doing that?"
Tati also utilizes filmic language to its fullest extent. He uses the full frame, placing action in the foreground and background. Very little dialogue is used. Most lines are quick overheard pieces of conversations. However, Tati builds a rich soundtrack by using the ambient sounds of the environment. Even a squeaking door plays a part in defining the laid-back nature of Hulot.
Additionally, Tati is a timing master. There are times when a room full of people contains multiple gags going on at the same time. One remarkable scene has Tati painting a boat as the tide takes his paint can out to sea only to return it right when he needs more paint. The gag is funny and amazing in equal parts. Another part to why Tati's gags are so special is that he often finds an unexpected punchline. And he does it time and time again. For a film that is one gag after another, Tati's ingenuity is impressive.
Trained as a mime, Tati took a specific kind of silent gag humor and weaved it into a mosaic of how we remember vacations. The film doesn't set out to develop complex, layered characters, but sets out to develop a complex and layered experience. In doing so, Tati has made a remarkably original film.
Rick DeMott
Animation World Network
Creator of Rick's Flicks Picks
