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Film sous-titré en anglais
Ne ratez pas ce chef d’œuvre du cinéma français, un réel bijou de burlesque signé Jacques Tati dans la lignée des Max Linder, Charlot, Harold Lloyd, ou encore Buster Keaton.
Avec : Jacques Tati, Nathalie Pascaud, Michele Rolla…
Long-métrage français. Genre : Comédie. Film pour enfants
Sorti en 1953
Durée : 1h28
Synopsis :
Les vacances, tout le monde le sait, ne sont pas faites pour s’amuser. Tout le monde le sait, sauf Monsieur Hulot qui, pipe en l’air et silhouette en éventail, prend la vie comme elle vient, bouleversant scandaleusement au volant de sa vieille voiture Salmson pétaradante la quiétude estivale des vacanciers qui s’installent avec leurs habitudes de citadins dans cette petite station balnéaire de la côte atlantique. Il promène dans l’ennui balnéaire, le plaisir émerveillé des châteaux de sable. Et, d’un seul coup, l’ennui éclate de rire, tandis que les châteaux de sable s’ouvrent sur la belle au bois dormant et qu’aux cris des enfants, la petite plage pétarade et reluit comme un quatorze juillet…
à 20h30
Auditorium de l’Institut français de Tel Aviv
And now some information in english (and thanks to Wikipedia) about one of the french comedies master pieces:
Les Vacances de M. Hulot (released as Monsieur Hulot’s Holiday in the UK and as Mr. Hulot’s Holiday in the USA), is one of Jacques Tati’s most famous films, gaining an international reputation for its director upon its release in 1953.
Synopsis
Les vacances de M. Hulot follows the generally harmless misadventures of a lovable, gauche Frenchman, Monsieur Hulot (played by Tati himself) as he spends the obligatory August vacation at a beach resort. The film affectionately lampoons several hidebound elements of French political and economic classes, from chubby capitalists and self-important Marxist intellectuals to petty proprietors and drab dilettantes, most of whom find it nearly impossible to free themselves, even temporarily, from their rigid social roles in order to relax and enjoy life. The film also gently mocks the confidence of postwar Western society in the primacy of work over leisure and the value of complex technology over simple pleasures, themes that would resurface in his later films.
In Les vacances, Tati dispensed with the already sparse speaking roles and incidental character narration of his first feature film, Jour de fête. For the most part, spoken dialogue is limited to the role of background sounds. Combined with frequent long shots of scenes with multiple characters, Tati believed that the results would tightly focus audience attention on the comical nature of humanity when interacting as a group, as well as his own meticulously choreographed visual gags.
On its release in the United States, Bosley Crowther’s review said that the film contained « much the same visual satire that we used to get in the ‘silent’ days from the pictures of Charlie Chaplin, Buster Keaton, and such as those. » He said the film « exploded with merriment » and that Tati « is a long-legged, slightly pop-eyed gent whose talent for caricaturing the manners of human beings is robust and intense…. There is really no story to the picture…. The dialogue… is at a minimum, and it is used just to satirize the silly and pointless things that summer people say. Sounds of all sorts become firecrackers, tossed in for comical point. »