This review appeared originally in Fanzine, 6/26/08. –J.R.
Given the size of his achievement, it’s astonishing that Jacques Tati made only half a dozen features, none of them bad. But if I had to single out any of these as a lesser work, I’d pick Trafic (1971), the only one that qualifies as compromised.
Others might select Parade (1973), Tati’s final film –– because it was mainly shot on video and virtually dispenses with plot by basically following the contours of a far-from-spectacular circus performance. But they’d be wrong. Though it’s the least known Tati feature and the most modest in terms of budget, Parade is by no means Tati’s least ambitious or adventurous film. In some ways it even qualifies as his most radical –– in its refusal to clearly separate life from spectacle or prioritize professional performers over unprofessional spectators. Unfortunately, the less analytical and more sentimental celebrations of Tati –– including the charming 1989 documentary by the late Sophie Tatischeff about her father, In the Footsteps of Monsieur Hulot, that’s a bonus on the second disc here –– tend to overlook this radicalism.
Trafic, on the other hand, represented a conscious step backward for Tati.… Read more »
From The Thousand Eyes, Fall 1978. Carrie Rickey and I embarked on this film series and article shortly after we became flat mates, but lamentably it didn’t pan out as we hoped it would; our program notes, for starters, never got distributed. — J.R.
By Carrie Rickey and Jonathan Rosenbaum
One of the consequences of describing the world around us is that language separates into different senses what we often experience as a unified whole. Language, an instrument — perhaps the instrument — of’ culture, overvalues the visual at the expense of the other four senses. Our language for the way we see is more precise: looks are eminently describable, we discuss color, dimensions, surface.
Our language for the way we hear is a jumble, less precise. Ambient sound consists of so many simultaneous events: acoustics of a space., buzz of appliances, rhythm of a clock, crowd voices, footfall. We “focus” on a visual event; we “concentrate” on sound, which is more difficult to pinpoint. We screen out the rumble of the subway train to concentrate on a movie.
If movies themselves are a selective screening process, the ways we experience them often censor out other elements. The way we talk about films — referring to “viewers” and “spectators”, talking about “seeing” a movie, asking, “How does it look?” — incorporates this idea of sensory censorship.… Read more »