As funny, emotionally irresistible, and downright magical as they are, I must admit that at certain points, I simply stare at Jacques Tati films. Whether its simpler fare like Mon Oncle and M. Hulot’s Holiday or more formally ambitious fare like the illustrious Playtime or, in this case, Trafic, there’s an awe-inspiring bent to his films that almost supersede the films’ appeals. Like beautiful skyscrapers that are as fascinating to stare at as they are to explore inside, Tati films are monoliths of French cinema of the ‘50s through the ‘70s – they’re absolutely essential.
The first thing you’ll hear from most fans of his work is that Trafic, Tati’s take on a car-obsessed culture, is his least imperative M. Hulot film. Don’t listen to those guys. It may not have the aesthetic punch of Playtime or the initial enjoyment of Mon Oncle, but Trafic is nevertheless an absolutely inviting film, one that entertains and wows in equal parts.
The story is very simple. Hulot (Tati) is a car designer from Paris who has to get on the road with a handful of employees from his automobile company to debut his new invention at a car show in Amsterdam. On the road trip, all the shenanigans that could possibly occur to Hulot and his cronies of course come to pass, and the movie careens with a car-and-driver focal point through ninety minutes of running time.
But the majesty of Tati’s comedic paradigm is that even more than folks like Chaplin and Keaton, he’s a filmmaker as much as he is a performer. Those inimitable talents who preceded Tati on the silver screen obviously are owed a debt of gratitude (and, to an extent, homage) for literally creating the comedy genre, but Tati brings an arthouse sensibility to his raucous inanity that makes his cinema literally sing. The guy didn’t make many films (unfortunately), but looking at pictures like Trafic, that makes sense. There’s an authoritative stamp - a deliberate, planned-out manifest - for each and every scene in the film (big and small) that gives viewers a feeling like they’re watching a museum-grade piece of art and not just a motion picture.
It sounds like I’m getting a bit exaggerated in my accolades, but this writer feels that Jacques Tati is one of the true bona fide artistes of mid-century French filmmaking. Not only does he afford his films a sense of purpose and uniform rhetoric, but he’s able to make them simultaneously inane and prescient. Trafic is the story of a bumbling idiot trying to go from point a to point b, but behind that grand guignol façade, it’s a film about how humankind has let modernity spin out of control.
This may not be the best place for Tati newcomers to start. If you’ve never seen a Tati film, I say hit Mon Oncle and hit it hard. But for those who appreciate the lilting cadence of Tati’s one-of-a-kind talents, Trafic is irresistible in literally every way. It’s a wonder to behold.
The Video: How Does The Disc Look?
Criterion has again delivered. Trafic looks gorgeous in this 1.33:1 aspect ratio transfer. The film has been cleaned up impressively; there are hardly any examples of dirt or grime on the transfer print. Finely grained detail is stunning in its punchiness and clarity. Black levels are also thorough and robust, both in indoor and outdoor sequences. Color accuracy is spot-on; both flesh tones and the lush greens of the European countryside are presented with appropriate intensity. Amazing.
The Audio: How Does The Disc Sound?
The French mono sound track gets the job done. Dialogue is always second-tier in a Tati film; far more attention is paid to sound effects, music, and ambience. But all those elements are showcased within the single-channel mix with care. Nothing will absolutely impress you, but Criterion has always made it a point to preserve the sonic integrity of their films as they were originally shown, and that’s what we have here.
English subtitles are included.
The Supplements: What Goodies Are There?
First up are two featurettes: an episode of Morceaux de Bravoure featuring interviews with Tati; and, an excerpt from Le Journal du Cinema featuring cast and crew members from Trafic offering some anecdotes about working on the film (and with Tati). Each of these short bonuses are intriguing – especially the Tati interview – but they pale in comparison to the lovely full-length documentary on the second disc of this edition entitled In the Footsteps of M. Hulot. Tati’s daughter, Sophie, compiled tons of interviews, behind-the-scenes footage, and much else to show Tati and his exploits with a fresh perspective. It’s a real marvel.
The film’s trailer is also included.
Exclusive DVD-ROM Features: What happens when you pop the disc into your PC?
There are no DVD-ROM features on this DVD.
Final Thoughts
Trafic is an irresistible film, and Criterion’s DVD debut of the picture is nothing short of stunning. The movie looks fantastic, it sounds just fine, and while there aren’t a lot of extras, the feature-length documentary is worth the price of admission on its own accord. Highly recommended.
