Trafic (1971)

Trafic (1971)

Jacques TatiMarcel FravalHonoré BostelFrançois Maisongrosse
Jacques Tati


Trafic (1971) is a French,Dutch,English movie. Jacques Tati has directed this movie. Jacques Tati,Marcel Fraval,Honoré Bostel,François Maisongrosse are the starring of this movie. It was released in 1971. Trafic (1971) is considered one of the best Comedy movie in India and around the world.

At Altra Motors, Mr. Hulot designs an ingenious camper car with lots of clever features. A lorry hauls the prototype to an important auto show in Amsterdam, with Mr. Hulot alongside in his car and a spoiled, trendy PR exec, the young Maria, in her sports car packed with designer clothes and her fluffy dog. The lorry has every imaginable problem, delaying its arrival. A flat tire, no gas, an accident, a run-in with police, a stop at a garage, and numerous traffic jams showcase vignettes of people and their cars. Through interactions with these down-to-earth folks, Maria gradually loses her imperious conceit, becoming much more relaxed and fetching.


Trafic (1971) Reviews

  • Almost as good as Tati's best films; very underrated!


    Tati's final theatrical film, which is often considered his greatest failure, is in actuality nearly as good as his masterpieces. In this film, Tati stars for the fourth and final time as M. Hulot. This time he has a job as an automobile designer, and it is his job to get his company's new Camping Car to Amsterdam for a big auto show. Accompanying him is a driver, François, and a public relations worker, Maria (played marvelously by Maria Kimberly, who reminds us of the great lead actress roles played by Nathalie Pascaud and Barbara Denneck in M. Hulot's Holiday and Playtime respectively). Maria drives around in a little yellow convertible with her little fur-ball dog. Its fast and maneuverable. It can go pretty much anywhere it wants. Unfortunately, François and M. Hulot are driving a large truck. They often get into trouble when they're trying to follow Maria's car. Every problem that can happen does. Many observations are made about how people act when they're in their cars on the highway (it's a non-stop traffic jam from Paris to Amsterdam). The jokes in Traffic are always hilarious. The first fifteen or twenty minutes are somewhat dry of them, which is mainly why I don't rank this one up there with M. Hulot's Holiday, Mon Oncle, and Playtime (it's about even with Jour de fête). But when it gets going, it never stops. And it's beautiful, too, just as all of his other films. The final sequence is sublime, and the final shot will stay with me forever. 9/10.

  • Leave your expectations behind and let this movie win you


    I didn't know what to expect when I went to see this movie many years ago. I was delightfully surprised. This is a very funny movie, but it is subtle in it's kookie-ness. Two men have developed a new camping van and have set out to take it to an outdoors show. This should be an ordinary trip full of coffee, donuts and long boring stretches of road. But no, this does not take place in America; it starts in Paris and the goal is Amsterdam. Much can happen along such a route, and in this case, just about everything does. Will they make it there before the show has ended? Will their dreams of being successful come to pass? These are the driving questions of this movie. They seem rather uninteresting goals, don't they? Nevertheless, these characters will likely win you over and have you rooting for them as they make their bumbling stab at entrepreneurship. Or, just as likely, you may find yourself enjoying every obstacle that steps in their way, as I did. Much is unexpected in this movie and that's what makes it fun! Share this one with your friends and they will thank you. Note: this is a comedy, there's not much gore or street fights, shoot-outs or bombs taking out city blocks, so be forewarned, this movie with not shake your subwoofer. Although not a spy movie, it somewhat reminds me of the original "Tall Blonde Man with One Black Shoe": another wonderful French comedy.

  • A Piece of Cinema History


    Whilst not Tati's best by any stretch of the imagination the genius of the man still shines through. Having lived in France for a while I see more humour in this film, particularly in the comedic observation, than before. The French may be fanatical about cinema and may well have produced some of the world's greatest film makers but out and out comedy probably ranks well down in terms of output. Maybe it's something to do with the French sense of humour (whatever that may be). Unlike British, and to a lesser extent US comedy, self-parody is not a French strength. It could be something to do with their history and education but the culture, so strong in literature and the arts seems not to demean itself with pure laughter. Most cinema fans would probably be hard put to list 10 French comedies - other than perhaps drama with the occasional comic undertones. Les Visiteurs (the original not the recent re-make) is probably one of the better examples but here again there's little or no self-mocking. So it was left to Tati to mine the seam - and how well he mined it. Here he takes the smallest of French (dare I say Parisian) mannerisms and extends them into lengthy scenes of beautifully observed comedy. Whether it's the windscreen wipers in tune with the occupants or the nose-picking drivers, he asks the French to at least smile, if not laugh out loud, at themselves. Yes, the film does move at rather a slow pace and there are times when the comic observation sags, but the sight of dear old M Hulot in his mackintosh, loping along with pipe jutting from his mouth will ever remain one of cinema's delights.

  • The last we'll see of M. Hulot, and a melancholy farewell it is


    What can we make of Trafic, Jacques Tati's last film? It certainly isn't a major success, as M. Hulot's Holiday and Mon Oncle are. It's not a gallant failure, as I believe Playtime is. It seems to me that it is a sad, sometimes amusing combination of those things that made Tati so unique, so funny, so problematic and so drawn to making mundane social commentary. There must be something in the water we drink or the bread we eat that causes some humans with extraordinary artistic gifts to believe that because they are great artists they also must have equally great gifts of social philosophy, gifts which they are determined to share with us. By the time Tati made Trafic, four years after Playtime, he had lost ownership of his life's work, his films, and most of his money. Playtime was a debacle. He spent a fortune, his own as well as others, to craft a perfectionist's dream of artistic control. He ended up with a movie that was filled with surprises, layer on layer of -- for wont of a better term -- sight and sound gags, with fascinatingly complex amusements for an audience willing to let the situations develop around them, and seemingly endless, obvious and often impersonal visual commentary on the homogenizing of modern society and the perils of technology. Most moviegoers were not all that interested. Now, with Trafic, Mr. Hulot has come back. He is a designer for a Paris auto company, and he has developed a camping vehicle like no other. Trafic is the story of Mr. Hulot's delivery of his camper from Paris to an international auto show in Amsterdam. It's a long journey filled with misunderstandings, accidents and crashes, a PR executive with an endless number of dress changes, cops, windshield wipers and a lot of cars. The movie is as exquisitely built as an expensive vest pocket timepiece. Unfortunately, time has a way of catching us up, and Mr. Hulot now is a man past middle age, where male innocence seems unlikely and somewhat unattractive. Tati was 64 now, and he looks it. The gentle, innocent mime who meets unexpected personal situations at a small seaside hotel or tries to help his young nephew has been replaced by a well-meaning older gentleman we more often observe than we root for. His encounters with the clichés of faceless technology and bumbling bureaucracy are increasingly with people with few understandable, sympathetic foibles. Mr. Hulot to be at his best needs people we can come to like and interact with, not simply interchangeable stand- ins...even if they're picking their noses in the privacy of their cars (in a sight gag probably only Tati could have pulled off). Mr. Hulot only appeared in four feature-length movies. It is Tati's genius that in less than 500 minutes he gave us such a memorable and appealing human being. Tati's layering of sight gags is unique and often intensely and unexpectedly funny. With Trafic, however, I found my interest more intellectual than anything else. There were stretches of the film that simply weren't all that engaging. And this, of course, is all just opinion.

  • One of the great comedies!


    Unlike the previous reviewer, I have to say that the French made many great comedies. But just as there are many styles in US cinema, so are there many styles in other countries. "Trafic" is a wonderful stab at modern life and our infatuation with cars that is more up to date than ever, with traffic jams at an all time high. In passing, or rather sitting, through the summery vacation road chaos this Tati movie slaps everything from drivers' behaviors and quirks that are border less, to general human characteristics, and even matters of national pride. I disagree with the inability of the French to laugh at themselves - but one needs to realize that the humor involved is very deep and tongue in cheek, but is just about even more stinging because it is not so superficial. What makes this movie, just like the other Tati movies so remarkable, is that one does not need to speak or understand French and can still watch it in its original sound track, because the camera does all the work. "Shtick" with brains, a piece of visual art that might hang in a modern art gallery, were it not a movie, self contained, intelligent, funny. It is a neat feature about most Tati films. I remember being in stitches when I last saw it, and that was after seeing it several times already. Other great French comedies would be the original versions of "The Tall Blonde With The Red (Black) Shoe", ie "Le Grand blond avec une chaussure noire" (note that the original odd shoe was black, not red), "Birdcage", ie "La Cage Aux Folles", the German title of which was much closer to the actual "A Cage Of Fools" .... oh heck, just look up movies with Pierre Richard, Jean Rochefort, the unknown to Americans (because he would have put Hollywwod to such shame to kill their business in comedy) all time unforgettable Louis De Funes, Fernandel, Mireille Darc, Yves Montand, Jean Paul Belmondo (one of his movies is an obvious blueprint for Indiana Jones), .... these are all true actors that are also capable of character studies and can deliver such a punch that it flies right over many people's heads .... maybe the previous reviewer is right ... the French have no comedy ... not of the shallow sitcom style in any case. If you can laugh with your whole heart, head , and soul though, then start digging and you will find much of the best ever made.


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