Trafic (1972)

As a big fan of Jacques Tati, it's terribly sad for me to state, that this film is surely his worst. And what's worse, compared to all his other classics, this one hasn't aged well.I won't blame Tati for this, because after the financial disaster with the production of Playtime, it must have been extremely difficult to find investors again.The obvious problem with Trafic is, that it's not a french comedy, but a french-belgian-dutch one. And this simply doesn't work. The plot line is hazardous, the supporting (amateur) actors are completely uninspired and surely far from any sort of "direction". The characters remain obscure and two-dimensional - even the one played by Jacques Tati himself - and do not manage to raise the viewer's interest or sympathy.Jokes are badly and horribly slowly timed, the choreography, one of Tati's masterly domains, is wooden and uninspired. Worst of all is the editing, which is incredible. Scenes are cut and linked without any sense. I doubt that Jacques Tati can be held responsible for that. Anyway, this is just one big disappointment, and anyone who loves Tati's movies should stay away from this one. It makes your heart break to see, how bad a Tati movie can be.Three stars are definitely three too many... but it's Jacques Tati...

It takes about half an hour for this film to warm up, but once it gets going, it is a great watch. As the fourth entry in Tati's M. Hulot series, the film is not quite as good as the two previous entries, 'PlayTime' and 'Mon Oncle', but it is still a fine film on its own, with not only amusing puns but also interesting satirical elements once again. Like with the previous two films, 'Trafic''s jokes owe a lot to the way in which the shots are set up, and in general Tati does a fine job visualising the material. Some shots appear to lack meaning or thematic motivation, but in general they help to flesh out the humour at technology. It is also interesting how there is a distinct lack of close-ups until the end. Everything going on is so interesting that one wants to look closer, but Tati places the viewer at a distance. The jokes are often funnier because we cannot see the finer details, and this is perhaps Tati saying something in the way of that if we distance ourselves we can see humour that we might miss otherwise if we try to examine everything too closely. As usual, the music used is excellent too, fitting in well with the on-screen action. Overall, the film does not work quite as well as 'PlayTime' and 'Mon Oncle', but there is little reason to regard it as an inferior entry - just a lesser entry, perhaps.

Unlike the previous reviewer, I have to say that the French made many great comedies. But just as there are many styles in US cinema, so are there many styles in other countries. "Trafic" is a wonderful stab at modern life and our infatuation with cars that is more up to date than ever, with traffic jams at an all time high.In passing, or rather sitting, through the summery vacation road chaos this Tati movie slaps everything from drivers' behaviors and quirks that are border less, to general human characteristics, and even matters of national pride.I disagree with the inability of the French to laugh at themselves - but one needs to realize that the humor involved is very deep and tongue in cheek, but is just about even more stinging because it is not so superficial.What makes this movie, just like the other Tati movies so remarkable, is that one does not need to speak or understand French and can still watch it in its original sound track, because the camera does all the work. "Shtick" with brains, a piece of visual art that might hang in a modern art gallery, were it not a movie, self contained, intelligent, funny. It is a neat feature about most Tati films.I remember being in stitches when I last saw it, and that was after seeing it several times already. Other great French comedies would be the original versions of"The Tall Blonde With The Red (Black) Shoe", ie "Le Grand blond avec une chaussure noire"(note that the original odd shoe was black, not red),"Birdcage", ie "La Cage Aux Folles", the German title of which was much closer to the actual "A Cage Of Fools" .... oh heck, just look up movies with Pierre Richard, Jean Rochefort, the unknown to Americans (because he would have put Hollywwod to such shame to kill their business in comedy) all time unforgettable Louis De Funes, Fernandel, Mireille Darc, Yves Montand, Jean Paul Belmondo (one of his movies is an obvious blueprint for Indiana Jones), .... these are all true actors that are also capable of character studies and can deliver such a punch that it flies right over many people's heads .... maybe the previous reviewer is right ... the French have no comedy ... not of the shallow sitcom style in any case. If you can laugh with your whole heart, head , and soul though, then start digging and you will find much of the best ever made.

Really only for Tati fans. A sentimental journey for Hulot, his send-off. The scene in which the mechanic and Hulot mime the moonwalk, playing behind them on tv, sums it all up -- and is the only time one of Tati's explicit mime performances is really good.Re-watchable.