The eccentric Mr. Hulot’s ill-fated attempt to bring his ultra-modern camper to an Amsterdam auto show results in comic disaster.

Trafic 1971 720p BluRay FLAC x264-EA.mkv

General
Container:	Matroska
Runtime:	1h 37mn
Size:	6.47 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	986x720
Aspect ratio:	4:3
Frame rate:	24.000 fps
Bit rate:	
Audio
French 2.0ch FLAC

https://nitro.download/view/4E833615F80A046/Trafic_1971_720p_BluRay_FLAC_x264-EA.mkv

Language(s):French
Subtitles:English,French

The post Jacques Tati – Traffic (1971) (HD) first appeared on Cinema of the World.

Quote:
One of the most original—and hilarious—comedies ever made, M. Hulot’s Holiday has delighted and disarmed moviegoers the world over since its first appearance in 1953. There’s little in the way of plot or dialogue to this French-made farce about a group of vacationers at a small seaside hotel. But an unconventional form has not stood in the way of audience appreciation of the film’s comic content—good, old-fashioned slapstick fun. Writer-director Jacques Tati’s penchant for physical wit has prompted many to compare M. Hulot’s Holiday to the silent classics of Charlie Chaplin and Buster Keaton. And truth to tell, the temptation for comparison is just about irresistible in light of the film’s hero, the hilariously accident-prone M. Hulot—played by Jacques Tati himself.

With his tilted, loping walk, quirky physical mannerisms and self-absorbed air, the tall, gawky M. Hulot is something of a comic Everyman. Whether attempting to grapple with a heavy suitcase, a temperamental horse, or a faulty motor car, Hulot is plainly not the man for the job. But like all the great movie clowns, Hulot—for all the scrapes he gets into—still manages to land on his feet, unshaken by his experiences, and largely unaware of the comic havoc that he has inadvertently wreaked on those who’ve crossed his path.

Still, for all the lines that might be drawn connecting Tati’s Hulot with Chaplin’s Tramp or Keaton’s “Great Stoneface,” there are important differences as well. As Tati describes it, “What I wanted to present with the character of Hulot was a man you can meet in the street, not a music hall character. He does not know that he is being funny.” Hulot is indeed a perfectly ordinary fellow. Chaplin and Keaton are always the instigators of comic situations. Hulot grapples with circumstances set in motion by others. More important, unlike his comic predecessors, Hulot is not the whole show. In Tati’s eyes the antics of the other hotel guests are equally deserving of attention—and laughter.

Hulot’s comic comings and goings are part of a network of gags and situations woven together and unfolded simultaneously on screen. We may be following Hulot principally, but we are also tracking the movements of a small family, a young woman on holiday alone, a constantly strolling middle-aged couple, a constantly squabbling pair of hotel waiters, and any number of small children, pulling pranks or simply wandering about between the seashore and the hotel.

Tati keeps all this action in focus through a virtual mastery of comic film technique. He never uses close-ups. The camera is always placed mid-distance from the action—exactly where we’d be standing if we happened to be a casual passerby in real life. What he puts within each shot is equally realistic. In the world of Mack Sennett or Laurel and Hardy, the most unlikely people, places and things are continually brought together for the broadest possible comic effect. Tati, by contrast, takes the world pretty much as it is—only slightly exaggerating people and incidents for comic effect. As a result Tati finds humor in the most mundane of circumstances.

The sight of a group of guests waiting in a hotel lobby would not, to most minds, suggest a prime comic opportunity. But it does to Tati, as he underscores the situations with a fine—but gentle—satirical eye. Each guest has his or her own slightly eccentric manner or mode of dress. And each has a different reaction to the presence of the others. Hulot enters and immediately causes havoc by forgetting to close the hotel’s front door. The wind blowing through the door into the lobby has the force of a miniature tornado resulting in things being dropped and people bumping into one another—much like the stateroom scene in the Marx Brothers classic A Night at the Opera. But instead of the surreal extremes of the Marx Brothers, with Tati we see a scene we can “place” in real life.

Tati’s penchant for realism, combined with his taste and restraint, make M. Hulot’s Holiday the sort of comedy that one can enjoy again and again. A first viewing will have you laughing at the classic comedy scenes like Hulot’s tennis game, or the uproarious scene in which the hapless Hulot finds himself mistaken for a mourner at a country funeral—and that’s not to mention the bits with the muddy footprints, the raucous jazz record, or the runaway car.

But later viewings reveal something else, for Tati is the antithesis of the laughs-at-any-price gagman. He wants us to laugh, but he also wants something more. In the words of critic Pauline Kael, “Tati is sparse, eccentric, quick. It is not until afterward—with the sweet nostalgic music lingering—that these misadventures take on a certain poignancy and depth.” For film director Jean-Luc Godard it’s this subtle afterglow—a comic yet becalmed view of the world—that really counts. “This is what interests Tati. Everything and nothing. Blades of grass, a kite, children, a little old man, anything, everything which is at once real, bizarre, and charming.”

1.46GB | 1h 28mn | 784×576 | mkv

https://nitroflare.com/view/89C5EF8EB96F157/Jacques_Tati_-_(1953)_Monsieur_Hulot’s_Holiday.mkv
or
https://tezfiles.com/file/0a26c7fe49e7f/Jacques_Tati_-_%281953%29_Monsieur_Hulot%27s_Holiday.mkv

Language:French
Subtitles:English

The post Jacques Tati – Les vacances de Monsieur Hulot AKA Monsieur Hulot’s Holiday [Director’s Cut, Restored] (1953) first appeared on Cinema of the World.

Monsieur Hulot, Jacques Tati’s endearing clown, takes a holiday at a seaside resort, where his presence provokes one catastrophe after another. Tati’s masterpiece of gentle slapstick is a series of effortlessly well-choreographed sight gags involving dogs, boats, and firecrackers; it was the first entry in the Hulot series and the film that launched its maker to international stardom.

5.54GB | 1 h 28 min | 970×720 | mkv

http://nitroflare.com/view/AAB7C807CF0A638/Les_vacances_de_Monsieur_Hulot_1953_Directors_Cut_720p.mkv

Language:French
Subtitles:English

The post Jacques Tati – Les vacances de Monsieur Hulot AKA Monsieur Hulot’s Holiday (1953) (HD) first appeared on Cinema of the World.

Synopsis:
School for Postmen (French: L’École des facteurs) is a short film directed by Jacques Tati in 1947. Tati plays a French postman adamant to prove he can be just as fast as American postmen at delivering mail. The film includes several sight gags that involve his bicycle. He replicated most of the action here in his first major feature film, Jour de fête, released two years later.

395MB | 16 min 5 s | 788×576 | mkv

http://nitroflare.com/view/31D4C98BB975496/The.School.for.Postmen.1947.576p.x264-HANDJOB.mkv

Language:French
Subtitles: English (muxed)

The post Jacques Tati – L’école des facteurs AKA The School for Postmen (1947) first appeared on Cinema of the World.

Quote:
“Forza Bastia” is a 26-minute film documenting a UEFA Cup match between PSV Eindhoven and French club SC Bastia at the Furiani Stadium in 1978. Jacques Tati directed the piece at the request of friend Gilberto Trigano – the President of the Bastia club at that time. It was subsequently shelved and kept in storage until Tati’s daughter Sophie Tatischeff eventually assembled the footage for release in 2002.

1.25GB | 27 min 37 s | 984×720 | mkv

https://nitro.download/view/556007FEB5FD295/Forza.Bastia.2002.720p.BluRay.x264-HANDJOB.mkv

Language:French
Subtitles:English

The post Jacques Tati & Sophie Tatischeff – Forza Bastia (2002) first appeared on Cinema of the World.

Quote:

A distillation not of Jacques Tati per se, but of communal spectacle and creation — cinema. The circus is the setting, abstracted into blank spotlights but with the audience always present, always as much a part of the show as the jugglers, acrobats, contortionists, drummers, and assorted pratfall artisans. At the center is Tati, silver-haired in a turtleneck, miming taking punches in the ring, riding a horse, directing traffic, swinging a tennis racket in slow-mo. Playtime and Traffic exhausted the French producers, so the auteur staged his swansong as a Swedish TV-special, a casual affair, a slender recording of dance-hall whimsy and a profound summarization of a man’s life and art. There are card tricks and sight gags about asscracks, the hat-check woman scrambles to find room for the many motorcycle helmets; Au Hasard Balthazar is lovingly remembered, a hockey team is benched behind a string quartet that works mainly with horns and hammers. The magical instrument on display remains the human body in full view, Tati’s and the performers’ and the audiences’, the camera always keeping the master of ceremonies and his creations at the same distance — Tati enjoys an active viewer, the little boy caught dozing by the aisle later provides the capper to the helium-balloon ballad. The human shape vanished amid Playtime’s modern landscape is rediscovered at the circus, with renewed hope in art (psychedelic rock is as valid a form of expression here as classical violins, yodeling, flamenco ondulations, and Edith Piafing). Much closer to Numéro Deux than to Fellini’s I Clowns, for Tati shares Godard’s sense of the death and rebirth of film, taking a final bow and leaving the medium in the hands of the young. Cinematography by Gunnar Fischer and Jean Badal.

1.50GB | 1h 29mn | 800×576 | mkv

http://nitroflare.com/view/1B7168062E28F5A/Jacques_Tati_-_%281974%29_Parade.part1.rar
http://nitroflare.com/view/87C30EC7573E83C/Jacques_Tati_-_%281974%29_Parade.part2.rar

Language:French
Subtitles:English

The post Jacques Tati – Parade (1974) first appeared on Cinema of the World.

Synopsis
Jacques Tati’s award-winning feature début – a dazzling blend of satire and slapstick is early evidence of his unique talent. Acclaimed by international critics as an innovative comic masterpiece, Jour de fête is an hilarious exposé of the modern obsession with speed and efficiency, set amidst the rural surroundings of a tiny French village. Tati plays an appealingly self-deluded buffoon a postman who, impressed by the bristling efficiency of the American postal system, makes a wholly misguided attempt to introduce modern methods in the depths of rural France.

Quote:
Tati’s re-edit of his original black and white version, featuring a new character and hand-painted details and English voice-over.

https://nitro.download/view/0830ECA7AFD819A/Jour.de.fete.1949._1964.Re-edited.version_.720p.BluRay.x264.mkv

Language(s):French & English voice-over
Subtitles:None

The post Jacques Tati – Jour de fête AKA The Village Fair [1964 re-edited version] (1949) first appeared on Cinema of the World.