Jour de Fête

1949 [FRENCH]


IMDb Rating 7.3 10 8061

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January 04, 2022 at 03:15 AM



Jacques Tati as François le facteur
801.99 MB
fre 2.0
23.976 fps
1 hr 27 min
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Movie Reviews

Reviewed by MartinHafer 6 / 10

decent though not especially memorable

I gotta admit it--I'm not particularly a Jacques Tati fan. Although many consider his films exceptional, I just never felt that excited by them. However, in this film he does not play the more familiar Mr. Hulot character, and as such has a little more dialog and his humor is a little more briskly paced (as much of it is done on bicycle).

This is certainly not a bad film and I liked it more than the Hulot films. In fact, I laughed a few times when I watched it. It's just that I felt it was a very slight film--not especially remarkable but fun to watch. I'm sure than in 6 months or so, I will have forgotten most of it.

Reviewed by gavin6942 6 / 10

Jacques Tati's First Feature

Once a year the fair comes for one day to the little town Sainte-Severe-sur-Indre. All inhabitants are scoffing at Francois (Jacques Tati), the postman, but he seems not to recognize. The film is largely a feature-length extension of Tati's earlier short "School for Postmen".

The film is largely a visual comedy, though dialogue is still used to tell part of the story. This really calls to mind the silent greats of Chaplin, Keaton and Lloyd. Had Tati been born a couple decades earlier, he might have been included among their ranks.

While not perfect, and with less-than-stellar production value, the promise of Tati is evident here. His future films (including "Mr. Hulot's Holiday") would expand on this comic intellect.

Reviewed by JohnHowardReid 10 / 10

A little masterpiece of bucolic mores

The color version is certainly a revelation and much to be preferred to the murky black-and-white sub-titled print I saw on original theatrical release. Actually sub-titles are not really necessary at all. Even born-and-bred Parisians would have difficulty penetrating the heavy provincial accents of the villagers. Furthermore, much of the dialogue is deliberately mumbled, slurred or made indecipherable by background noise. The only stretch of speech that is clearly heard is the narration of the tent movie and its information could easily be picked up by simply watching the visuals. Even an ability to understand the old lady (she is supposed to be a native but has an incongruous Parisian accent) who acts as a narrator to tie the various segments together is not at all important.

So what we actually have here is pure pantomime that is given added realism by being filtered through an aural surround. Tati is the perfect clown who makes the most of a succession of clever gags that are superbly timed and all the more enjoyable because of their insight into the mores and customs of the little village. In fact as a revelation of village life with all its atmosphere, its interplay, its horseplay, its petty quarrels, its come-and-go tensions, the movie is second to none.

The support characters too have a wonderful part to play in the action, whether professional players like Frankeur, Beauvais and Decomble or simple villagers like Vallée and Wirtz who never made another movie in their lives.

The beautiful music score lends further enchantment to the pastel colors of Tati's immaculately chosen locations.

All told, a little masterpiece and a fitting herald to Tati's best and most celebrated movie, Les Vacances de Monsieur Hulot (1953).

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