Jacques Tati
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Connections, in both directions
Scorsese has said that he found inspiration in the works of René Clair and Jean Vigo, but the most direct connection for the railroad depot scenes is the work of Jacques Tati, in particular Playtime.
Scorsese’s orchestration of the massive space inside the train station and its numerous inhabitants will likely call to mind Spielberg’s similar use of an airport in The Terminal (2004), although both harken back to the great Jacque Tati’s masterful modern comedy Playtime (1967).
And just when you think Bird has exhausted his recipe book, he pulls off a slapstick climax that combines the sustained restaurant mayhem from Jacques Tati’s Playtimewith an episode of involuntary memory borrowed from Proust.
The aesthetics of the dreary, starless world outside of the prince's fantasy universe seem inspired primarily by the relentlessly gray, boxed-in world of Jacques Tati’s masterpiece of French cinema, Playtime, itself a hymn to the human spirit of ingenuity and individuality in a drab grown-up life.
For the new film, Osborne (“Kung Fu Panda”) and screenwriters Irena Brignull (“The Boxtrolls”) and Bob Persichetti have taken the generally more effective tack of nesting Saint-Exupery’s story within an elaborate framing device set in the kind of modular modern metropolis prophesied by Jacques Tati’s “Playtime,” full of technology and free of wonder.
With Sellers cast as an amiable, old-fashioned klutz lost among the technological gizmos and runaway decadence of the modern world, The Party is Edwards’ attempt to import Jacques Tati to Hollywood, specifically Tati’s 1958 film Mon Oncle, which sets his Monsieur Hulot loose in an automated house.
There, in a tribute to Jacques Tati’s Mon Oncle, Sellers’ Bakshi fumbles his way around the producer’s modern Art Deco home, failing to properly operate the automatic doors and furniture and vainly navigating the house’s numerous pools.
In this regard it recalls another audacious big-budget fantasy, Jacques Tati's Playtime (1967), for which the director constructed elaborate and highly detailed sets of a futuristic Paris.
(Tom Hanks has something of Hulot’s demeanor in Steven Spielberg’s fish-out-of-water comedy The Terminal.)
It was the direct inspiration for " The Terminal ," for which Stephen Spielberg built a vast set of a full-scale airline terminal.
Film buffs will recall that this is essentially the same thing that Jacques Tati did when he was making his classic comedy "Playtime" (which is being re-released later this summer).
Indeed, Antonioni seems to call into question the celebrated wonders of modernity itself in a way that seemed to echo the concerns Jacques Tati had explored so comically in Mon Oncle (1958): namely whether modern life, particularly in a city infatuated with the New, was worth the aggravation.
(The movie they go to see is Tati's "Monsieur Hulot's Holiday'' which, despite its stature on my list of The Great Movies, fails to compete with furtive experiments that would no doubt have Hulot puffing furiously at his pipe.)
Now this man is inside a cinema, and we meet Monsieur Oscar ( Denis Lavant ), who lives in a house that seems designed by the same architect employed in Jacques Tati's " Mon Oncle ."
As with John Ford's Wagonmaster or Jacques Tati's Playtime, the absence of a central star reinforces the sense of community that's integral to the creative vision being presented.
The French Dispatch of the Liberty, Kansas Evening Sun (2021)
Directed by Wes Anderson
influenced by Mon Oncle (1958), PlayTime (1967)
Visuals
After an early sequence that steals directly from Jacques Tati’s Mon Oncle (an exterior establishing shot of the dilapidated Dispatch building, through which a waiter passes by various windows and stairways), much of the movie fills the screen with props, sets, and busy backdrops.
Rug repair bills aside, from essentially the first moment that the dazzled viewer is introduced to the moving picture’s location – a French town glorying in the moniker Ennui-sur-Blasé, on which an average of 190,000 flakes of snow fall per year and from whose canal an average of 8.2 bodies are dredged per week – Mr. Anderson delivers such a dense and barmy barrage of minutely imagined wonders (not least a complete and perfect recreation of the famously ramshackle house from Mr. Jacques Tati‘s “Mon Oncle“) that it leaves one in something of a quandary.
Bringing to life a big-screen city unlike any we’ve seen before, Anderson has built himself the biggest Parisian playground since Jacques Tati doomed himself to financial ruin erecting the stages for his masterpiece Playtime.
Like Rear Window to Alfred Hitchcock, like Nashville to Robert Altman, like Playtime to Jacques Tati, Lee’s Do the Right Thing is an undiluted representation of its creator’s artistic command.
(The city may remind you of Metropolis or the chaotic cityscape of Brazil.
A rendition of Orwellian dystopia with the comic cynicism of Jacques Tati’s masterpiece Playtime, Brazil is a parable of corporate dominance; it is an environment strewn in propagandistic slogans and scored with the unending rhythm of typewriter keys.
John Wick: Chapter 3 - Parabellum (2019)
Directed by Chad Stahelski
influenced by PlayTime (1967)
Visuals
If the setting of Chapter 2 's climax, a hall-of-mirrors museum installation, was a kind of Instagram thirst-trap version of The Lady From Shanghai , this film offers the series' take on Jacques Tati's Playtime , a cold glass world where transparent barriers cause playful misunderstandings — when they're not keeping one guy from killing another.
If one threw Playtime , The Umbrellas of Cherbourg , Singin’ in the Rain , Sabrina , Young Frankenstein , and Josie and the Pussycats into a blender and poured the contents into a glass, it’s likely that the pink-colored concoction would look a lot like Greta Gerwig’s Barbie .
Think of a fusion of a violent, razor�s edge (but not black) comedy like Demme�s Something Wild or Scorsese�s After Hours and a Jacque Tati film like Mon Oncle and you might come close to approximating the sophisticated humor that the film packs.
Perhaps we’re supposed to feel that the novel is so grisly that it would make us want to take a shower, too—a high-tech downpour in a pricey marble stall, since her house is as expensive and over-styled, in its own slab-like way, as the suburban manse in Mon Oncle.
"Amelie" wafts us back to the fairytale France that once seduced international moviegoers in the days of "Le Million," "The Red Balloon" "Mon Oncle," but it also shows all the things -- some sexual, some political -- that now grace the screen since those more innocent days.