- Tati, Jacques
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orig. Jacques Tatischeffborn Oct. 9, 1908, Le Pecq, Francedied Nov. 5, 1982, ParisFrench film actor and director.He became a popular music-hall entertainer in the 1930s with a pantomime act that caricatured athletes. After appearing in comedy shorts, he wrote, directed, and starred in a series of comic feature filmsJour de fête (1949), Monsieur Hulot's Holiday (1953), Mon oncle (1958), Playtime (1968), Traffic (1971), and Parade (1974)in which he became known for his inspired physical comedy and his accident-prone alter ego, Monsieur Hulot. In his films Tati forsakes traditional narrative in favour of vignettes that use sight gags, timing, mannerisms, and physical action to reveal the humour and texture of modern living.
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▪ French actor and directorbyname of Jacques Tatischeffborn Oct. 9, 1908, Le Pecq, Francedied Nov. 5, 1982, ParisFrench filmmaker and actor who gained renown for his comic films that portrayed people in conflict with the mechanized modern world. He wrote and starred in all six of the feature films that he directed; in four of them he played the role of Monsieur Hulot, a lanky, pipe-smoking fellow with a quizzical, innocent nature.After a stint as a professional rugby player, Tati began a career as a music-hall entertainer in the 1930s, doing pantomimes of athletes and occasionally performing in movies. During World War II he served with the French army.An important early effort at directing for Tati was the short film L'Ecole des factuers (1947), which was later expanded into his first feature, Jour de fête (1948; The Big Day), a comic sketch of a postman who tries to introduce efficiency into his provincial post office. His next film, Les Vacances de Monsieur Hulot (1953; Mr. Hulot's Holiday), introduced his signature character and presented a satiric look at life in a middle-class seaside resort. His subsequent films are Mon oncle (1958; My Uncle, Mr. Hulot), Playtime (1967), Trafic (1971; Traffic), and Parade (1974). In his films Tati forsakes traditional narrative in favour of vignettes that use sight gags, timing, mannerisms, and physical action to reveal the humour and texture of modern living. He typically set the camera at a distance from the action and used numerous long shots to show Hulot moving through the larger society and, at the same time, to invite the viewer to explore the frame of the film for the visual and aural variety within. Les Vacances de Monsieur Hulot and Playtime are widely regarded as Tati's masterpieces.Additional ReadingJames Harding, Jacques Tati (1984); Brent Maddock, The Films of Jacques Tati (1977); Lucy Fischer, Jacques Tati, a Guide to References and Resources (1983).* * *
Universalium. 2010.
