The gray Parisian streets, the metallic glass office buildings, the labyrinth-like cubicle offices, the airtight elevators, are a picture scroll with a very modern technological texture. And Mr. Hulot is still the only "primitive" who doesn't fit in. The whole film is composed of countless fixed long shots, and each deep focus picture has different behaviors of different characters in different areas participating in it. You can choose one to focus, but it will also blur other information. The many characters in each picture maintain the operation of the picture like machine parts, which is slightly different from Chaplin's quasi-physical technique of assimilating human and machine parts to highlight the theme of the film. Jacques Tati is in difficulty. Divided into primary and secondary, a chaotic order is created in the picture with a huge amount of information. The traffic jams on the street into the parking lot, the passengers on the bus are full of expressionless faces, the white-collar workers in the office buildings are dressed in neat suits, and the office workers are in a hurry outside the window. Every detail shows that the individual is assimilated and the labor is Alienation, the era of rigid thinking. The picture of Mr. Hu Luo standing on the second floor looking at the densely packed office cubicles in the lobby on the first floor is very visually striking, cold and depressing. At the fair, the tellers who worked hard to sell products were very busy, but Mr. Hulot, who always held an umbrella and wore a polite dress, was lost in the elevator and the intertwined exhibition. Mr. Hulot came to a friend's house for a guest at night. The large transparent windows were like glass experimental containers, showing the men and women in the room on the dark street. Every movement and every detail of the characters was clear under the bright light. , the separated two families seem to be watching each other's life through the wall, which is really interesting, like a set of installation art. Jacques Tati's unique film aesthetics can be found in the later Roy Anderson.
The second half of the film is occupied by the dance of demons in the restaurant, the tiles glued to the soles of the waiters, the red inward arrows at the door of the restaurant, the carnival diners, the busy staff, the chaotic crowd, the high-end restaurant that should be quiet and elegant finally. It became the busiest place at night. The solemn, silent, and repressed mechanical state of the day was completely released at this time. The audience is still unable to find the center and focus from this chaotic picture. Each shot records a dazzling group scene like a monitor. If you watch this film with conventional viewing logic, you will definitely have no clue. In the end, Mr. Hulot could not deliver the gift to the American female tourist who left by car because he could not pass the modern ticket gate, so he had to ask passers-by to help deliver the gift. The bus traveled by the female tourist moves slowly on the congested street. At the turntable of the road, the blocked traffic circles like a merry-go-round in an amusement park. Things that should be disturbing appear childish in this imaginative picture. Full. Jacques Tati transitions easily between humorous, mischievous and ironic, and oppressive states, adding a little bit of color to the metal world he created, which is extremely gorgeous.
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