Re: RECUPERARI

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#2878
_Maxim
Participant

recuperari de…convalescenta:

Garfield: Bill Murray, of course!
Bride Corpse: Tim/Johnny/Helena, inca cu gustul ciocolatei amarui…
Spanglish (de James L. Brook cu Sadler/Leoni/Vega), pentru gusturi fine!

si…
PLAYTIME de Jacques Tati! Monsieur Hulot…
Excelent dosar, aici: http://www.cndp.fr/Tice/Teledoc/dossiers/dossier_playtime.htm
http://www.moviediva.com/MD_root/reviewpages/MDPlaytime.htm
discutii, info, fotografii:
http://www.allocine.fr/communaute/forum/message_gen_communaute=2&nofil=242565&cfilm=1363.html

Playtime (1967)

Roger Ebert
(also available at rogerebert.com: review || printable review )
Jacques Tati’s „Playtime,” like „2001: A Space Odyssey” or „The Blair Witch Project” or „Russian Ark,” is one of a kind, complete in itself, a species already extinct at the moment of its birth. Even Mr. Hulot, Tati’s alter ego, seems to be wandering through it by accident. Instead of plot it has a cascade of incidents, instead of central characters it has a cast of hundreds, instead of being a comedy it is a wondrous act of observation. It occupies no genre and does not create a new one. It is a filmmaker showing us how his mind processes the world around him.

At the time of its making, „Playtime” (1967) was the most expensive film in French history. Tati filmed it in „Tativille,” an enormous set outside Paris that reproduced an airline terminal, city streets, high rise buildings, offices and a traffic circle. It was the direct inspiration for „The Terminal,” for which Stephen Spielberg built a vast set of a full-scale airline terminal.

Although Spielberg said he wanted to give Tom Hanks the time and space to develop elaborate situations like Tati serendipitously blundered through, he provided Hanks with a plot, dialogue and supporting characters. Tati made „Playtime” without a story, with dialogue (mostly in English) that is inaudible or disposable, and without a hero.
His film is about how humans wander baffled and yet hopeful through impersonal cities and sterile architecture. „Playtime” doesn’t observe from anyone’s particular point of view, and its center of intelligence resides not on the screen but just behind the camera lens. The most sympathetic person in the movie is a waiter who becomes a source for replacement parts. More about him later.

„Playtime” is Rosenbaum’s favorite film, and unlike many of its critics, he doesn’t believe it’s about urban angst or alienation. In a lovely passage, he writes: „It directs us to look around at the world we live in (the one we keep building), then at each other, and to see how funny that relationship is and how many brilliant possibilities we still have in a shopping-mall world that perpetually suggests otherwise; to look and see that there are many possibilities and that the play between them, activated by the dance of our gaze, can become a kind of comic ballet, one that we both observe and perform…”

„Playtime” is a peculiar, mysterious, magical film. Perhaps you should see it as a preparation for seeing it; the first time won’t quite work. The best way to see it is on 70mm, but that takes some doing (although a print is currently in circulation in North America). The Criterion DVD is crisp and detailed, and includes an introduction by Terry Jones, who talks about how the commercial failure of the film bankrupted Tati (1909-1982) and cost him the ownership of his home, his business and all of his earlier films. Was Tati reckless to risk everything on such a delicate, whimsical work? Reckless for you, reckless for me, not reckless for a dreamer.
Directed by Jacques Tati. Running time: 126 minutes.

Tati, intre doi dintre idolii lui, Buster Keaton si Harold Lloyd
(si ai mei:))