Tati's 'Playtime'

In Tati’s 1967 film ‘Playtime’ we see once again Tati himself take up the role of Monsieur Hulot, a character that dominates much of Tati’s works. Set in a purpose built version of Paris, ‘Playtime’ is characteristically consistent with Tati’s earlier films with the usual well-choreographed physical humour and minimal dialogue. However, where Playtime seems to differ is in its lack of focus on Monsieur Hulot and Tati’s avoidance of close up shots on the characters. At first its seems that Hulot’s individual actions are not central to the plot he appears as just another robotic character that responds to his controlled, sterile environment that regulates his movements through the city, resulting in the opening scene being encompassed by a dull methodical tone. Tati’s visual presentation of his regulated society is again humorous and meticulously planned. Impressive shots of rows upon rows of identical buildings and offices, as well as a standard blue print for homes reinforce Tati’s satire of capitalism and its consumerist nature. The Eiffle Tower can only be glimpsed in rare reflections in the pristine glass covering the set’s buildings.

Tati delivers a heavy critique on consumerism and the French petit-bourgeoisies along with bureaucracy and behavioural regulation. Themes of which coincide with many critical thinkers in France of the time and are apparent in Roland Barthes essays; The ‘Blue Blood’ Cruise and Myth Today (‘Mythologies,’ 1972). Although perhaps many dub this “big brother” theme as overdone and dated, Tati’s approach is refreshing, comical, and poignant.

Reminiscent of Foucauldian power-knowledge or biopower the films penultimate and epic scene sees Hulot and a group of American tourists leaving their scheduled paths and causing a playful disruption in a restaurant as the set falls apart around them. After all, the very nature of power-knowledge allows rebellion to co-exist, something which Tati reminds us not to overlook.