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• W308845666 abstract "Even among Tati-philes, it is classified, at best, a pleasant coda. But Jacques Tati's Trafic, back on the autoroute in the form of a stylish, 2 DVD set, finds itself again on the road to relevance, the product of a delirious political period of rising gas prices, environmental erosion, technological ubiquity, and insatiable consumerism--each a conspirator in the moral double-take being performed by our contemporary, car-crazed culture. If Les Vacances de Mr. Hulot cleverly demonstrated that man's capacity for pleasure was suffering from increased constriction, and Mon Oncle poetically eulogized the folkway-fertile 'vieux cartier' that was its genetic genesis, Trafic, Tati's underrated ideological road movie, quietly adds that man, now metallically sealed off from the capacity for genuine experience, barely feels the loss any more. The little piece of Paris in which Hulot civilly revelled among stray dogs, sunshine-seeking songbirds and charmingly mischievous children isn't even a dot in the rear view mirror. Man has zipped passed it, along layers of oppressive overpasses, into a noisy, hermetic jungle, where mishaps, breakdowns and murmured moments of miscommunication populate the pathways of the planet as much as the steering wheel-sterilized nose pickers and yawners one finds behind the wheel. [ILLUSTRATION OMITTED] By this time--the third appearance of Tati's trademark character--Hulot, too, is part of this absurdly progressive universe, a resigned recruit by way of his role as designer of an absurdly accessorized camper, created by the company for which he indifferently toils for an Amsterdam auto show. Yes, the still recognizable Hulot, with his high-wire gait and bird-like movements, remains the perpetual outsider, facilitating the classic comic formula of the bumbling innocent set loose against a stuffy, functionary backdrop, but his newfound servility serves as a telling comment on the diminished role of the artist in an increasingly deracinated society, devalued by the silently unstoppable energies of industrialization, commerce and crass commercialism (as does a choice running gag on the awarding of free busts of famous artists by a gas station.) The Hulot-designed camper fails to make it to the auto show on schedule, the victim of mounting motorway mousetraps. This simple, allegorical narrative would have been enough in and of itself to drive home Tati's point. But the painterly Tati, with his equation of film as wall-sized canvas, does not keep statements in the booty of linearity. With his Sunday intellectual's bent for making his audiences work at least a little, Tati hides the tidbits of his thesis like Easter eggs. They are in the periodic montages of the people trapped in traffic, the frustrating lulls between the gags, the garbled cross-European overlapped by his anonymous human subjects; put together, what rolls off the assembly line is a silently subversive meditation on an urban fate in which human interaction is the delicate domain of happenstance. Even then, Tati adds, we're all much too lost in our own subjective rituals to appreciate the cosmic quirk. If Playtime, the abstract epic released before this film that is considered Tati's masterwork, failed to register with the public, and Trafic remains considered, despite the much loved Hulot's return, just as much of a disappointment, the fault lies not in the subtext of these films but in the democratization of the gags; at the time of their production, Tati was still suffering the after effects of a car accident (inspiring Trafic? …" @default.
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• W308845666 date "2009-03-22" @default.
• W308845666 modified "2023-09-26" @default.
• W308845666 title "On the Road to Renewed Relevance: Jacques Tati's Trafic" @default.
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