Jour de fête

Wouldn't it be nice if "American Style" really did just mean delivering mail quickly, and not all of the terrible things it actually means. I now know what inspired Jackie Chan's bicycle chase in Project A.

a sweet funny but also sad time capsule of an era that no longer exists

Not Hulot, but the character has the same talent for creating chaos and of course the same lankiness that lends itself to some splendid physical gags. And in the same spirit of the later Hulot films, Tati celebrates the simple life and quietly rages against modernity. The tone is a bit more zany and slapsticky, but he still takes his time. What's more disappointing is that Francois is the town laughingstock. Nonetheless, the humor is overall quite good and the film is a breezy delight.

Pretty good, mostly the last act, but Tati gets better from here on.

François isn't quite Hulot, and Tati hasn't quite mastered the art of the subtle, meditative comedy, but all the seeds are there in Jour de Fete, from the peripheral sight gags to the warm, jubilant undercurrent in every character.

Not an unremarkable effort. Its obvious how talented Tati is at physicality & in the directors seat, but the comedy fell flat too often.

The lack of dialogue in Tati's later films seems wholly appropriate considering how painfully obnoxious they are in Jour de fête, but the boisterous combination of satire and slapstick that pervades the film makes for a rollicking good time.

I appreciate the effort put into this but I find Tati neither funny nor sympathetic, so even at 75 minuted this is a tedious experience for me.

Very charming, as well as funny. A nice story that lives you with glee and a touch of sadness.

This plants the seeds of what Tati would later do in M. Hulot's Holiday, but it doesn't quite feel like a Tati movie - there's simply too much talking! There's a few funny bits, but most of the slapstick falls incredibly flat. That's par for the course with Tati's early work, though. He didn't really become a great filmmaker until he began to expand his vision and create entire worlds for his characters to bumble around in, rather than just in the tedium of reality. You know what I mean?

François is delivering American style. A charming, beautiful & occasionally funny movie. Great old scenes of village life in France.

This was sometimes amusing but never funny.

American style ain't got nothin' on Tati style!

A nice comedy, not because of its jokes; it wasn't laugh out loud funny to me. But because the portrayal of this stylistic old French town life, which the nostalgic in me liked a lot.

Intolerable.

Really a hit or miss at times. The first half is a chaotic mess. The eye doesn't know where to look, what story to follow and where the jokes take place but the second half is a focused a lot more on Tati himself which makes for some fun comedy. Overall not that great but once or twice it was "laughing out loud" hilarious.

Slight and breezy and very easy to watch. Much has been said about this germane sketch of later Tatisms, but in contrast to the silent Hulot, one of this film's lasting impressions on me is actually a piece of dialogue. About the third time he exclaims "I almost got beaned by that pole!" I lost my shit at the absurdity of such a line.

Watched right after the shorts, it felted a lot like those... but longer, in fact "L'école des facteurs" is almost completely remade here (last part of the movie). Shorts weren't exactly great narratively, but they work for 10-15 minutes and have good gags here and there. That same thing extended for 90 minutes doesn't work that good for me, specially when the main character, if you can call it that way, is not that charismatic to support such a poor narration.

A quaint comedy that shows Tati's growing talent. The first half is tiring, as we're trying to keep track of a dozen characters and the jumps to each leave very little time to figure out what's going on before jumping again. Once the preliminaries are over, though, it starts to hit its stride, and the humor is more obvious. I enjoyed the runaway bike and the sudden peloton segments, and the recurring bee joke.

Não vou mentir, o pico desse filme são os vinte minutos finais quando o carteiro resolve agir "à moda americana", dos carteiros para narrativa, dos burlescos para os cinéfilos, é quando ele resolve literalmente encarnar a fisicalidade de Buster Keaton que o filme atinge o seu auge. Box Obras-primas do Cinema Obra Completa de Jacques Tati.

12 mart 11, pera muzesi & evet, arka plandaki amerikan taslamasi hos. ama tati'nin bu filmi, bi kisa filminin biraz genisletilmis versiyonu. yer yer sikici hale geliyor ve hatta bunaltiyor.

Feb 07, 2020

If you can get ahold of a nice copy, check out the 1994 color version. It's shorter, cuter, and it maintains the pleasantness of the whole film while ridding it of any drags

I think I liked the film more when it wasn't focusing on Tati and his irritating repetition of "like the Americans". There's something about him I find vaguely off-putting.

918

Jacques Tati bringing something very different to the 1949 crowd. While it's not technically a silent film, it is a silent slapsticker at heart with Tati bicycling his way through this as bumbling fool of a postman. Some of it is a rehash from a short film he did in 1947, but here you get a broader sense of life in this little village. Doesn't always get the belly muscles working, but some of the time it feels like you're watching a less loud Benny Hill, and that's more than alright in my book.

#975