In Jim Healy's introduction to Playtime at the Dryden Theater at George Eastman House (900 East Ave.), he could not have impressed any stronger that he truly loved it. And he was right. It's a masterpiece. (At least from what I've seen of Jacques Tati's films so far.)
The film follows Tati's charmingly bumbling Monsieur Hulot — sort-of. Hulot is only one of the characters in this film shot from the perspective of an omniscient and loving city — if a cold and dehumanizing one as well. The camera watches the trials of humans as they attempt to navigate the brutally unnatural surroundings of the city and its buildings. But as it goes (and as in Tati's other films) humanity prevails.
What was so remarkable was that every single moment of Playtime is richly and deliberately created. Even the most innocuous scene is a fractal part of the central theme.
But what I found most unusual was that when I was leaving the screening, I was struck with an uncanny sense that I had witnessed the completion of all cinema. It was as if I had walked out of every movie ever made — and felt no particular need to see another film. (And although tenacious, the feeling faded over several days, so I just might watch more movies.)
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