Criterion: Monsieur Hulot’s Holiday
MONSIEUR HULOT’S HOLIDAY, JACQUES TATI, 1953
Summer vacation is a time to get away, to adventure, relax, and get away from the hustle and bustle of daily life. Jacques Tati plays with this logic, as some of his characters make the most of their vacation, while others bring their city lives with them. At the center is the theatrical debut of Monsieur Hulot, who aligns with and is arguably the catalyst for people enjoying themselves during their time off.
From his first appearance as he is driving his meager, sputtering and backfiring, tine Samdon A3, Hulot is introduced as a different type of character. He’s odd, clumsy, sometimes uncomfortable in his own skin, and his unconventional behavior and tastes make him an outlier compared with the traditional vacationers. He barely speaks, and is the center of the comedic gags that take place. He is also the embodiment of the central theme of Tati’s film (and those to come) of tradition versus modernity. Hulot initially seems not to belong because he awkwardly interacts modern technology, but he ends up belonging in his own way.
Holiday is ultimately a comedy, and bears a strong resemblance to the silent comedies that inspired him. He does pack in quite a lot of big gags, the type of which would be familiar in a Buster Keaton or Harold Lloyd picture. One example is the shark scene, which was added to the 1978 version in order to satire the recently released Jaws. There are other big laughs, like in his unconventional method of tennis playing, where he trounces his opponents by playing by a different set of standards and rules, not unlike how he behaves during personal interactions.
There are plenty of little laughs as well, like him painting a boat and the paint can rolls away from and towards him without his noticing. Or the older man who casually throws away seashells as his wife collects them. This is just the tip of the iceberg, as there are countless subtle oddities that Tati throws into the scene, many of which are humorous and sometimes are hidden. He rewards people for paying attention to the details.
There are plenty of other scenes that are not funny, nor are they intended to be, and this is what separates a Tati film from plenty of other comedies. He slows things down and lets the film breathe. This is, after all, a vacation, and he conveys the sense of getting away.
Not all of the characters participate in the vacation. The businessman is constantly taking calls about his stock purchases. A young political idealist is consumed by continually talking about intellectual matters. The characters who interact the moat with Hulot, however, appear to leave life’s trappings behind them. The children take to Hulot, and they are at home away from home, caring only for enjoyment, music and treats. A number of females also take to Hulot, although not so much in the romantic sense. One young, attractive lady finds herself a dancing partner that keeps a comfortable distance. Another older Englishwoman is delighted by the klutzy Frenchman, and she embraces his quirkiness. Even the older couple adore Hulot,and they spend most of their vacation walking around quietly and peacefully.
Those who accept and enjoy Hulot get the most out of their vacation, and that’s because they challenge their comfort zone. They don’t just follow the herd of modern trappings, but they embrace being outsiders and distant from this quagmire of a society.
Film Rating: 8/10
Terry Jones introduction. The Monty Python member gives a short introduction by Criterion standards and basically highlights his favorite scenes. His presence on the disc speaks more for the influence of Tati. His influence on people like Rowan Atkinson is obvious — the Pythons less so.
Clear Skies, Light Breeze: Critical essay. This is a French critical essay by Stéphane Goudet. She talks about Tati’s art and his comedy, how he embraces the middle class and ridicules bureaucracy and technology. One example is the untillegible speaker at the train station, which people follow blindly. She compares many of these same themes to Tati’s later films.
Sounds of Silence: Interview with Michael Chion. He talks about Tati’s use of sound. The sounds in the film do not fill up spaces, but they are used to complement the space. Tati uses sound to guide our eye to the object (like the swinging door in the restaurant). It enhances the silence. There’s actually quite a bit of sound in Tati films, like the sea in Hulot and the music, and there’s lots of dialogue, but it seems to be primarily in the background.
Cine Regard. This is a French TV program where Tati watches clips from his films and discusses them. He begins by telling a funny story about how he went to a screening of Holiday anonymously, entering in the dark so that nobody would recognize him. He sits next to a man who laughs throughout the film, nudges Tati and constantly calls the director an asshole, not realizing the object of his ridicule is sitting next to him. Tati shares a bit of insight into his films, but it is clear during the discussion that he is protective of their integrity. They are like his children.
1953 version of the film. This original version is not the primary version on the disc, because Tati was a proponent of adapting and improving his films over time, which in my opinion he succeeded with Holiday. Many of the changes are cosmetic, especially with the sound. The older version is busier and slightly more political. The older version is also about 10 minutes longer. Unlike a lot of directors, Tati didn’t mind cutting things out to increase the flow, and he did the same with Jour de Fete.
Criterion Rating: 9/10