Tati (1907-1982) was the screen's most fastidious director of comedy and the greatest visual humorist since the silent days of Chaplin, Keaton and Lloyd whom he revered, and this comic cornucopia contains all his feature films except Trafic (1971). The first four are increasingly ambitious masterpieces generally using onomatopoeic sound rather than dialogue. The last, Parade (1974), is an anthology of his stage mimes performed as in a circus and made for Swedish TV.
Tati burst on the world as a moustachioed rural postman in Jour de fête (1949), then adopted the screen persona of the accident-prone, neo-Luddite Monsieur Hulot whose slouch hat, raincoat, pipe, ankle-length trousers and umbrella made him as recognisable as Chaplin's tramp. In the black-and-white Monsieur Hulot's Holiday (1953), he disrupts a holiday resort; in Mon oncle (1957), beautifully designed and shot in colour, he leaves a trail of disasters in a gadget-laden Paris suburb. The satire on soulless, conformist modernity continues in Play Time (1967); shot on fantastic sets over three years, it bankrupted him, but is now regarded as his greatest work.
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