L4 PLAYTIME

  Jacques Tati’s ‘Playtime’ is a film that is one of a kind – filled with inaudible conversations, static but bizarre movements in a place where there is no room for creation and individuality.  In the 1960s, French president Charles de Gaulle made a vow to develop his country’s economy and reform Paris into a modern city. Knocking down older houses in urban Right Bank districts, developers rebuilt parts of the city and its suburbs and put up modernized blocks of glass and steel in their place. High-rise structures were allowed within Paris for the first time, and their anonymous façades soured the City of Lights’ historical atmosphere and represented an unsightly contrast to her famous monuments. The city of the future was on its way, and its expansion was modeled according to dull, functional, pointedly Americanized specifications.     During this time, filmmaker Jacques Tati, who had grown up in the earthy quarters of Paris and lived there most of his life, decide...

 From the first minutes of the picture, I noticed how much work, imagination and time were invested. Each location is worked out in detail, and all the scenes in the film are filled with life and bustle, which is inherent in a large metropolis. In general, I would call it a satire on modern society, whose life is filled with absurd moments. The main character of the picture acts as an observer of everything that is happening in the film of the absurdity and stupidity of modern society and the metropolis. Most of the personnel shown in the film are more like robots that act on one primitive principle And begin to make mistakes mercilessly when the program or environment changes dramatically. The director is constantly playing with the expectation of the viewer. he clearly understands that due to the abundance of details and events, the viewer will often lose sight of the main character. such interaction with the viewer is not often seen even in modern cinema.  It is also intere...