Watching it again, I still feel the embarrassment of being in a modern Bauhaus-style building. If you don't read the instructions, who wouldn't have the same feeling as Mr. Luo when stepping into a hospital or government office building for the first time? It can be very difficult to find your destination in a clean and geometrically arranged space. In such an environment, newcomers always feel that making any noise is unnatural. No wonder Mr. Hulot paid attention to the sound of his buttocks squeezing the seat cushion, and stared at the visitor, who was obviously a regular customer, making all kinds of wanton noises: tapping a pen, clapping his hands, dusting his trousers, stacking his cuffs, twisting his fingers. , snapping your fingers, unzipping the purse... Similar to this anachronistic sound maker, it also appeared at the trade fair. When the exhibitor was introducing the silent door to the customer, a person dressed like Mr. Hulot beside the customer was also making various noises: opening the drawer, turning over the documents in the drawer, knocking on the pipe, pulling out of the pen holder Take out the pen and close the drawer. The Bauhaus building structure restrains the people who work in it like a clean prison. People are naturally separated and placed into office rooms with the same appearance, so that two office rooms are not far from each other. The people here have to communicate by phone.
Watching it again, I still feel that some jokes have not been discovered. Especially the scene of the opening ceremony of the hotel, it took more than 50 minutes from the preparation of the celebration to the beginning of the celebration to the end of the celebration. It would be strange if you could see all the laughs by watching it twice. Here's the newfound laugh: the gait of the glass-lifting workers upstairs is so dance-like that passers-by accompany them with their mouths. When the first customer came, the waiter was still cleaning. Under the reminder of the doorman, the waiter hurriedly took off the lady's coat, and the doorman helped the waiter put on work clothes. Afterwards, the doorman dropped his gloves and hat. One of the newly laid bricks of the mason came loose. In order to save the noble customers from seeing the muddy mason in the high-end hotel, the waiter in white overalls was asked to repair the brick. The fish plate was too long to run across the window through which the dishes were passed through the kitchen—the vertical side made it difficult for the waiter to hold it. The doorman stepped on a nail, and his hands were wet with white paint. The hotel staff had to walk over the newly built brick to prevent their shoes from sticking to it again. The waiter kicked the lights at the bottom of the aisle...
Although Tati's film is full of laughs, he obviously didn't just want to be entertained. Therefore, the point of laughter in the film is not to make people laugh in hysteria, but to make people contemplate in their hearts while contemplating. The gait of the workers carrying the glass is like dancing, which is not only interesting, but also makes people feel the elegance of simple work, just like the elegant painters on the Eiffel Tower under the lens of Mark Ribb. This is indeed a film without a protagonist, or the audience is the real protagonist. Different people can see different images from it, and the same person can see different images from it at different times.
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