Rent Playtime (1967)

3.7 of 5 from 131 ratings
2h 4min
Rent Playtime Online DVD & Blu-ray Rental
  • General info
  • Available formats
Synopsis:
Featurete is a surreal, comic vision of modern life in which the director's much-loved character, Monsieur Hulot - accompanied by a cast of tourists and well-heeled Parisians - turns unintentional anarchist when set loose in an unrecognisable Paris of steel skyscrapers, chrome-plated shopping malls and futuristic night spots.
Actors:
, Barbara Dennek, , France Rumilly, France Delahalle, , Erika Dentzler, Nicole Ray, Yvette Ducreux, Nathalie Jem, Jacqueline Lecomte, Oliva Poli, , Sophie Wennek, Evy Cavallaro, , , , Ketty France, Eliane Firmin-Didot
Directors:
Producers:
Bernard Maurice
Writers:
Art Buchwald, Jacques Lagrange
Studio:
BFI Video
Genres:
Classics, Comedy
Countries:
France, Classics, Comedy
BBFC:
Release Date:
06/09/2004
Run Time:
125 minutes
Languages:
French
Subtitles:
English, English Hard of Hearing
DVD Regions:
Region 2
Formats:
Pal
Aspect Ratio:
Widescreen 1.78:1 / 16:9
Colour:
Colour
Bonus:
  • Feature commentary by film historian Philip Kemp
  • Shot documentary 'Au-dela de Playtime'
  • Continuity supervisor Sylvette Baudrot on Tati and Playtime
  • Director biography + short film about Tati
  • Original trailers for Playtime, Mon Oncle, Les Vacances de M. Hulot
BBFC:
Release Date:
29/11/2010
Run Time:
124 minutes
Languages:
French
Subtitles:
English
DVD Regions:
Region 2
Formats:
Pal
Aspect Ratio:
Widescreen 1.85:1
Colour:
Colour
BLU-RAY Regions:
B
Bonus:
  • Feature Commentary by Film Historian Philip Kemp
  • Rare Audio Interview with Jacques Tati Recorded at the NFT in 1968, Accompanied by Stills and Images from the BFI's Collections

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Reviews (1) of Playtime

Inexplicably overrated 'classic' - Playtime review by IKM

Spoiler Alert
18/11/2015

High-minded critics are wont to describe Jacques Tati's 'Play Time' as a surreal and penetrating satirical vision of the modern world; in fact it's insufferably smug, excruciatingly dull and painfully, fatally unfunny. Tati is often compared to earlier giants of silent comedy like Chaplin and Keaton, but on this evidence he has precious little of Chaplin's empathy and grace and even less of Keaton's frenetic physical dexterity and dynamism. In fairness, it is visually quite interesting, but its intentionally drab colour palette and boxy concrete office and apartment blocks are actually nowhere near as imaginative or as interesting as the kind of high modernism Tati evidently thinks he is poking fun at.

It's tempting to surmise that this is a once great film of its particular time that simply hasn't aged well, but actually its critical reputation has only grown over the years - on its release, audiences reportedly found it unoriginal and trite. They were right and subsequent generations of critics are most definitely wrong.

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