Personally, I think Tati's films are hilarious; but they're not to all tastes. Some have told me that they loathe his work. I've never figured out why, but I think it's because the character that Tati usually plays himself is so totally dead pan, so unaffected by the events around him (which he is usually causing) that many miss the more subtle comic bits happening that effectively generate his environment.
At any rate, Tati's main shtick - or at least his best known - is to take a pretentiously upright petite bourgeoisie with 19th century sensibilities and drop him into 20th century France where he must confront a society that is largely defined by the gradual eroding of those sensibilities. He usually has serious difficulties with little things like record players or radios. He's a hazard in a car, but the world's no safer when he rides a bicycle. But through it all, he never loses his aplomb, which is derived from his inner recognition that the nineteenth century was more interesting than the 20th overall.
In this film, the 20th Century is best (or worst) represented by the recurring presence of Americans. Around the time of the release of this film, the French began to worry that the American, who had liberated them from the Germans, might never go away - a worry that remains influential in French politics to this day, and with some justification. Certainly Tati's postman, on his humble bicycle, appears to be no match at all for the Americans in their motor vehicles - except that his innocent buffoonery somehow manages to get the best of them every time.
That give's the film a slight satirical edge, and one which leaves a real impression. Otherwise, we still have the imperturbable Tati, whom "neither rain nor snow nor sleet" - whatever.
Enjoyable and wholly entertaining.
At any rate, Tati's main shtick - or at least his best known - is to take a pretentiously upright petite bourgeoisie with 19th century sensibilities and drop him into 20th century France where he must confront a society that is largely defined by the gradual eroding of those sensibilities. He usually has serious difficulties with little things like record players or radios. He's a hazard in a car, but the world's no safer when he rides a bicycle. But through it all, he never loses his aplomb, which is derived from his inner recognition that the nineteenth century was more interesting than the 20th overall.
In this film, the 20th Century is best (or worst) represented by the recurring presence of Americans. Around the time of the release of this film, the French began to worry that the American, who had liberated them from the Germans, might never go away - a worry that remains influential in French politics to this day, and with some justification. Certainly Tati's postman, on his humble bicycle, appears to be no match at all for the Americans in their motor vehicles - except that his innocent buffoonery somehow manages to get the best of them every time.
That give's the film a slight satirical edge, and one which leaves a real impression. Otherwise, we still have the imperturbable Tati, whom "neither rain nor snow nor sleet" - whatever.
Enjoyable and wholly entertaining.