{"product_id":"complete-jacques-tati-the-blu-ray","title":"Complete Jacques Tati, The (BLU-RAY)","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThough he made only a handful of films, director, writer, and actor Jacques Tati ranks among the most beloved of all cinematic geniuses. With a background in music hall and mime performance, Tati steadily built an ever-more-ambitious movie career that ultimately raised sight-gag comedy to the level of high art. In the surrogate character of the sweet and bumbling, eternally umbrella-toting and pipe-smoking Monsieur Hulot, Tati invented a charming symbol of humanity lost in a relentlessly modernizing modern age. This set gathers his six hilarious features—\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eJour de fête, Monsieur Hulot’s Holiday, Mon oncle, PlayTime, Trafic,\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e and \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eParade\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e—along with seven delightful Tati-related short films.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFILMS IN THIS SET\u003cbr\u003e\u003cbr\u003eJour de fête\u003cbr\u003e\u003cbr\u003eIn his enchanting debut feature, Jacques Tati stars as a fussbudget of a postman who is thrown for a loop when a traveling fair comes to his village. Even in this early work, Tati was brilliantly toying with the devices (silent visual gags, minimal yet deftly deployed sound effects) and exploring the theme (the absurdity of our increasing reliance on technology) that would define his cinema.\u003cbr\u003e\u003cbr\u003eMonsieur Hulot’s Holiday\u003cbr\u003e\u003cbr\u003eMonsieur Hulot, Jacques Tati’s endearing clown, takes a holiday at a seaside resort, where his presence provokes one catastrophe after another. Tati’s masterpiece of gentle slapstick is a series of effortlessly well-choreographed sight gags involving dogs, boats, and firecrackers; it was the first entry in the Hulot series and the film that launched its maker to international stardom.\u003cbr\u003e\u003cbr\u003eMon oncle\u003cbr\u003e\u003cbr\u003eSlapstick prevails again when Jacques Tati’s eccentric, old-fashioned hero, Monsieur Hulot, is set loose in Villa Arpel, the geometric, oppressively ultramodern home of his brother-in-law, and in the antiseptic plastic hose factory where he gets a job. The second Hulot movie and Tati’s first color film, Mon oncle is a supremely amusing satire of mechanized living and consumer society that earned the director the Academy Award for best foreign-language film.\u003cbr\u003e\u003cbr\u003ePlayTime\u003cbr\u003e\u003cbr\u003eJacques Tati’s gloriously choreographed, nearly wordless comedies about confusion in an age of high technology reached their apotheosis with PlayTime. For this monumental achievement, a nearly three-year-long, bank-breaking production, Tati again thrust the lovably old-fashioned Monsieur Hulot, along with a host of other lost souls, into a baffling modern world, this time Paris. With every inch of its superwide frame crammed with hilarity and inventiveness, PlayTime is a lasting record of a modern era tiptoeing on the edge of oblivion.\u003cbr\u003e\u003cbr\u003eTrafic\u003cbr\u003e\u003cbr\u003eIn Jacques Tati’s Trafic, the bumbling Monsieur Hulot, kitted out as always with tan raincoat, beaten brown hat, and umbrella, takes to Paris’s highways and byways. In this, his final outing, Hulot is employed as an auto company’s director of design, and accompanies his new product (a “camping car” outfitted with absurd gadgetry) to an auto show in Amsterdam. Naturally, the road there is paved with modern-age mishaps. This late-career delight is a masterful demonstration of the comic genius’s expert timing and sidesplitting knack for visual gags, and a bemused last look at technology run amok.\u003cbr\u003e\u003cbr\u003eParade\u003cbr\u003e\u003cbr\u003eFor his final film, Jacques Tati takes his camera to the circus, where the director himself serves as master of ceremonies. Though it features many spectacles, including clowns, jugglers, acrobats, contortionists, and more, Parade also focuses on the spectators, making this stripped-down work a testament to the communion between audience and entertainment. Created for Swedish television (with Ingmar Bergman’s legendary director of photography Gunnar Fischer serving as one of its cinematographers), Parade is a touching career send-off that recalls its maker’s origins as a mime and theater performer.\u003c\/p\u003e\n\u003ch4 class=\"header_lvl2 hideSmall\"\u003eSPECIAL FEATURES\u003c\/h4\u003e\n\u003cul\u003e\n\u003cli\u003eNew digital restorations of all six feature films, with uncompressed monaural soundtracks on the Blu-rays of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eJour de fête, Monsieur Hulot’s Holiday, Mon oncle, Trafic,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eParade\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand 3.0 surround DTS-HD Master Audio soundtrack on the Blu-ray of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePlayTime\u003c\/i\u003e\n\u003c\/li\u003e\n\u003cli\u003eNew digital restorations of all seven short films:\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eOn demande une brute\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(1934),\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eGai dimanche\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(1935),\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSoigne ton gauche\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(1936),\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eL’école des facteurs\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(1946),\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eCours du soir\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(1967),\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eForza Bastia\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(1978), and\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eDégustation maison\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(1978)\u003c\/li\u003e\n\u003cli\u003eTwo alternate versions of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eJour de fête,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ea partly colorized 1964 version and the full-color 1995 rerelease version\u003c\/li\u003e\n\u003cli\u003eOriginal 1953 theatrical release version of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMonsieur Hulot’s Holiday\u003c\/i\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eMy Uncle,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ethe version of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMon oncle\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ethat director Jacques Tati created for English-language audiences\u003c\/li\u003e\n\u003cli\u003eIntroductions by actor and comedian Terry Jones to\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMonsieur Hulot’s Holiday, Mon oncle,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePlayTime\u003c\/i\u003e\n\u003c\/li\u003e\n\u003cli\u003eArchival video and audio interviews with Tati\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eIn the Footsteps of Monsieur Hulot,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ea 1989 documentary about Tati’s beloved alter ego\u003c\/li\u003e\n\u003cli\u003eFive visual essays and a classroom lecture by Tati expert Stéphane Goudet\u003c\/li\u003e\n\u003cli\u003eNew interview with critic Michel Chion on Tati’s sound design\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003e“Jour de fête”: In Search of the Lost Color,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ea 1988 documentary on the restoration of the film to Tati’s original color vision\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eOnce Upon a Time . . . “Mon oncle,”\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ea 2008 documentary on the making of the film\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eEverything Is Beautiful,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ea 2005 piece on the fashion, furniture, and architecture of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMon oncle\u003c\/i\u003e\n\u003c\/li\u003e\n\u003cli\u003eSelected-scene commentaries on\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePlayTime\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eby Goudet, theater director Jérôme Deschamps, and critic Philip Kemp\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eTativille,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ea documentary shot on the set of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePlayTime\u003c\/i\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eBeyond “PlayTime,”\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ea short 2002 documentary featuring on-set footage\u003c\/li\u003e\n\u003cli\u003e“An Homage to Jacques Tati,” a 1982 program featuring Tati friend and set designer Jacques Lagrange\u003c\/li\u003e\n\u003cli\u003eInterview from 2006 with\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePlayTime\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003escript supervisor Sylvette Baudrot\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eTati Story,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ea short biographical film from 2002\u003c\/li\u003e\n\u003cli\u003eAlternate international soundtracks for\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMonsieur Hulot’s Holiday\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePlayTime\u003c\/i\u003e\n\u003c\/li\u003e\n\u003cli\u003eTrailers\u003c\/li\u003e\n\u003cli\u003eNew English subtitle translations\u003c\/li\u003e\n\u003cli\u003ePLUS: A booklet featuring essays by critics James Quandt, Jonathan Rosenbaum, Kristin Ross, and David Cairns\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Unobstructed View","offers":[{"title":"Default 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