
Two children go behind the scenes of a small circus.... (Full plot summary below)
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Two children go behind the scenes of a small circus.
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| Ozus' World Movie ReviewsDennis SchwartzLike in all his films, Tati's good-nature comes through. |
| EmanuelLevy.ComEmanuel LevyMore familiar and repetitive than inventive, Tati's last film doesn't begin to compare to his previous masterpieces. |
| The DissolveNoel MurrayThe more modest 1971 comedy Trafic and the 1974 made-for-Swedish-TV movie Parade are both sweet and entertaining, with moments of pure Tati magic. |
| Chicago ReaderJonathan RosenbaumJacques Tati's last film -- his least-known work, shot mostly on videotape for Swedish television -- is seldom shown, but it's a far greater achievement than most accounts would lead you to expect. |
| User ReviewJonas KThis was the last movie Tati made. It's filmed using videotechnichs insted of film. its a recording of a totalpreformance show recorded at Cirkus in Stockholm, Sweden |
| User ReviewArt SThe final feature from celebrated French director Jacques Tati (a.k.a. M. Hulot) was filmed for Swedish TV, apparently live in front of an audience on video (but then with additional footage shot later on film). It's a circus, complete with acrobats, jugglers, musicians (both classical and prog-rock), magicians, and, of course, Tati himself recreating some of his classic pantomimes (playing tennis, boxing, riding a horse, dancing). The physicality of it all is very impressive (particularly Tati in his late sixties) and you can tell that Tati spent a lot of time with the sound effects and production (as he always did). The feel of the film is exuberant and, as the acts roll on, the audience (dressed in incredible multi-coloured hippy outfits) gets fully involved in the show. But is this really a naïve audience or perhaps there are actors and performers strewn throughout their midst - many jump up on stage, including a memorable old fellow who tries to jump on a mule. The same droll humour found in all of Tati's films is here, with a knowing, sometimes sentimental or sad, undertone that bespeaks of shared human experience. Some might find this a lesser Tati film (continuing his attempt to recover an audience after the costly flop of the amazing Playtime), but I agree with Jonathan Rosenbaum that it demonstrates Tati's masterful control of the material and the viewer's responses while also deploying his major theme about the necessity of human connection. Of course, one can't avoid thinking about Fellini's similar fascination with the circus as a metaphor for life and the music here often evokes Nino Rota's scores for that other director. This is not the place to start with Tati (that would probably be Les Vacances de Monsieur Hulot, 1953) but Parade functions well as a bittersweet goodbye. |
| User ReviewJulian DFilm sympathique quoique deroutant de par son concept, different de ses precedents longs metrages, qui sont principalement des films d'observation d'une epoque en constante evolution, meme si des scenes de Parade auraient pu faire partie de ceux-ci. On retrouve avec etonnement un Jacques Tati vieilli, et qui parle (!), mais qui n'a rien perdu de son role de M. Hulot, qu'il reprend dans quelques mimes, dont le tennis. |
| User ReviewJake CAs always with the circus, expectations should be low; and that way, Tati can surprise you. The film is a made-for-Swedish-tv feature that more or less is just a taping of his circus mime act, with some other acts thrown in for the fuller experience. While that may not sound all that appealing, Tati is such a brilliant physical comedian, and elevated the conceit through a lot of sleight of hand breaking the fourth wall of the center ring. |
| User ReviewTor HAllegori over livet i form av en slags sirkusforestilling. Gjeeesp! |
| User ReviewAlex FA bit difficult to watch in comparison to other Tati films, but I do enjoy the ending and it has the best juggling I've ever seen. |