The Info List - Jacques Tati

Jacques Tati
Jacques Tati
(French: [tati]; born Jacques Tatischeff, pronounced [tatiʃɛf]; 9 October 1907 – 5 November 1982)[1] was a French filmmaker, actor, and screenwriter. Throughout his long career, he worked as a comic actor, writer, and director. In a poll conducted by Entertainment Weekly
Entertainment Weekly
of the Greatest Movie Directors, Tati was voted the 46th greatest of all time. With only six feature-length films to his credit as director, he directed fewer films than any other director on this list of 50. Tati's Playtime
(1967) ranked 43rd in the 2012 Sight & Sound critics' poll of the greatest films ever made.[2] As David Bellos puts it, "Tati, from l'Ecole des facteurs to Playtime, is the epitome of what an auteur is (in film theory) supposed to be: the controlling mind behind a vision of the world on film".[3]


1 Family origins 2 Early life 3 Career

3.1 Early work 3.2 World War II 3.3 Jacques Tati, director 3.4 "L'École des facteurs" ("The School for Postmen") 3.5 Jour de fête
Jour de fête
(The Big Day) 3.6 Les Vacances de Monsieur Hulot
Monsieur Hulot
(Monsieur Hulot's Holiday) 3.7 Mon Oncle
Mon Oncle
(My Uncle) 3.8 Play Time

3.8.1 Spin-offs of Play Time 3.8.2 Reception

3.9 Trafic
(Traffic) 3.10 Parade 3.11 Forza Bastia 3.12 Unmade films

3.12.1 Confusion 3.12.2 Film Tati No. 4, The Illusionist

4 Personal life 5 Death 6 Legacy

6.1 Les Films de Mon Oncle

7 Filmography 8 Awards 9 References 10 External links

Family origins[edit] Jacques Tati
Jacques Tati
was of Russian, Dutch, and Italian ancestry. His father, George Emmanuel Tatischeff, born in 1875 in Paris (d. 1957), was the son of Dmitry Tatishchev (Дмитрий Татищев), General of the Imperial Russian Army
Imperial Russian Army
and military attaché to the Russian Embassy in Paris. The Tatischeffs (also spelled Tatishchev) were a Russian noble family of patrilineal Rurikid
descent. Whilst stationed in Paris Dmitri Tatischeff married a French woman, Rose Anathalie Alinquant. (Russian sources indicate that she was a circus performer and that they never married.)[4] Under suspicious circumstances Dmitri Tatischeff died from injuries sustained in a horse-riding accident shortly after the birth of George Emmanuel. As a child George Emmanuel experienced turbulent times, such as being forcibly removed from France and taken to Russia to live. In 1883 his mother brought him back to France where they settled on the estate of Le Pecq, near Saint-Germain-en-Laye
on the outskirts of Paris.[5] In 1903, Georges-Emmanuel Tatischeff married the Dutch-Italian Marcelle Claire van Hoof (d. 1968). Together they had two children, Natalie (b. 1905) and Jacques. Claire's Dutch father, a friend of van Gogh, whose clients included Toulouse-Lautrec,[6] was the owner of a prestigious picture-framing company near the Place Vendôme in Paris, and he brought Georges-Emmanuel into the family business. Subsequently, Georges-Emmanuel became the director of the company Cadres Van Hoof, and the Tatischeff family enjoyed a relatively high standard of living.[7] Early life[edit] Jacques Tatischeff appears to have been an indifferent student, yet excelled in the sports of tennis and horse riding. He left school in 1923 at the age of 16 to take up an apprenticeship in the family business, where he was trained as a picture framer by his grandfather. Between 1927 and 1928 he completed his military national service at Saint-Germain-en-Laye
with the Cavalry's 16th Regiment of Dragoons.[8] Upon graduating the military he took on an internship in London where he was first introduced to the sport of rugby. Returning to Paris, he joined the semi-professional rugby team Racing Club de France, whose captain was Alfred Sauvy
Alfred Sauvy
and whose supporters included Tristan Bernard. It was at the Racing Club de France that Jacques Tatischeff first discovered his comic talents, entertaining his teammates during intervals with hilarious impersonations of their sporting endeavours. He also first met Jacques Broido, and they would become lifelong friends.[9] Between 1931 and 1932 the global economic crisis reached France[10] at the same time he left both the Racing Club de France and, to his family's disapproval, his apprenticeship at Cadres Van Hoof. Giving up a relatively comfortable middle-class lifestyle for one of a struggling performing artist during this difficult economic time, he developed a collection of highly physical mimes that would become his Impressions Sportives (Sporting Impressions). Each year from 1931 to 1934 he would participate in an amateur show organised by Alfred Sauvy.[11] Career[edit] Early work[edit] Although he had likely played music hall engagements before, his act was first mentioned in 1935, when he performed at the gala for the newspaper Le Journal to celebrate the French victory in the competition to set the transatlantic crossing record from Normandy. Among the honourable spectators was the influential writer Colette. Tati's act also caught the attention of Max Trebor, who offered him an engagement at the Theatre-Michel, where he quickly became the star act. After his success there, Tati tried to make it in London, playing a short season at the Finsbury Park Empire in March 1936. Upon his return to Paris in the same year, he was immediately hired as top billing at the ABC Théâtre[12] alongside the singer Marie Dubas, where he would work uninterrupted until the outbreak of the Second World War.[13] It was for Tati's performances of his now finely tuned Impressions Sportives at the ABC that the previously impressed Colette wrote,

"From now on no celebration, no artistic or acrobatic spectacle can do without this amazing performer, who has invented something quite his own...His act is partly ballet and partly sport, partly satire and partly a charade. He has devised a way of being both the player, the ball and the tennis racquet, of being simultaneously the football and the goalkeeper, the boxer and his opponent, the bicycle and the cyclist. Without any props, he conjures up his accessories and his partners. He has suggestive powers of all great artists. How gratifying it was to see the audience's warm reaction! Tati's success says a lot about the sophistication of the allegedly "uncouth" public, about its taste for novelty and its appreciation of style. Jacques Tati, the horse and rider conjured, will show all of Paris the living image of that legendary creature, the centaur."[14]

During the 1930s he also performed at the Scala in Berlin between 1937 and 1938, and began to experiment with film acting in the following shorts:

1932 : Oscar, champion de tennis directed by Jack Forrester written by and starring Jacques Tati
Jacques Tati
(film lost); 1934 : On demande une brute directed by Charles Barrois, with Jacques Tati
Jacques Tati
as (Roger), Enrico Sprocani as le clown Rhum (Enrico); 1935 : Gai dimanche directed by Jacques Berr, wrote and starring Jacques Tati
Jacques Tati
and Enrico Sprocani; and 1936 : Soigne ton gauche directed by René Clément, starring Jacques Tati
Jacques Tati
(Roger), Jacques Broido (sparring partner), Max Martel (the postman).

World War II[edit] In September 1939 Tati was conscripted back into his 16th Regiment of Dragoons which was then incorporated into the 3rd Division Legere de Cavalerie (DLC). He saw action in the Battle of Sedan, in May 1940, when the German Army marched through the Ardennes
into northern France. The 3rd DLC retreated from Meuse
to Mussidan
in the Dordogne where the division was demobilised after the Armistice was declared on 22 June 1940. Returning to Paris, Tati resumed his civilian profession as a cabaret performer, finding employment at Léon Volterra's Lido de Paris, where he performed his Sporting Impressions from 1940 to 1942. Considered as a possible substitute for Jean-Louis Barrault
Jean-Louis Barrault
in Les Enfants du Paradis, he played the ghost in Sylvie and the Ghost (Sylvie et le fantôme) (Claude Autant-Lara appeared as Sylvie) and also appeared as The Devil in the same film. Here he met Fred Orain, studio director of St. Maurice and the Victorine in Nice. Jacques Tati, director[edit] In early 1946 Jacques Tati
Jacques Tati
and Fred Orain founded the production company Cady-Films, which would produce Tati's first three films. With the exception of his first and last films, Tati played the gauche and socially inept lead character, Monsieur Hulot. With his trademark raincoat, umbrella and pipe, Hulot is among the most memorable comic characters in cinema. Several themes recur in Tati's work, most notably in Mon Oncle, Play Time
Play Time
and Trafic. They include Western society's obsession with material goods, particularly American-style consumerism, the pressure-cooker environment of modern society, the superficiality of relationships among France's various social classes, and the cold and often impractical nature of space-age technology and design. "L'École des facteurs" ("The School for Postmen")[edit] René Clément
René Clément
was first approached to direct "L'École des facteurs", but as he was preoccupied directing La Bataille du rail, directing duties fell to Tati, who would also star in this short comedy of rural life. Encouragingly, L'École des facteurs was enthusiastically well received upon release, winning the Max Linder Prize for film comedy in 1947. Jour de fête
Jour de fête
(The Big Day)[edit] Tati's first major feature, Jour de fête
Jour de fête
(The Big Day), is about an inept rural village postman who interrupts his duties to inspect the traveling fair that has come to town. Influenced by too much wine and a documentary on the rapidity of the American postal service, he goes to hilarious lengths to speed his mail deliveries aboard his bicycle. Tati filmed it in 1947 in the village of Sainte-Sévère-sur-Indre where he had found refuge during the war. Due to the reluctance of French distributors, Jour de fête
Jour de fête
was first successfully released in London in March 1949 before obtaining a French release on 4 July 1949, where it became a great public success, receiving the 1950 Le Grand prix du cinéma français. The film was intended to be the first French feature film shot in colour; Tati simultaneously shot the film in black and white as an insurance policy. The newly developed Thomson colour system proved impractical, as it could not deliver colour prints. Jour de fête
Jour de fête
was therefore released only in black and white. Unlike his later films, it has many scenes with dialogue, and offers a droll, affectionate view of life in rural France. The colour version was restored by his younger daughter, film editor and director Sophie Tatischeff, and released in 1995. The film won the Prize for Best Original Script at the Venice Film Festival. Les Vacances de Monsieur Hulot
Monsieur Hulot
(Monsieur Hulot's Holiday)[edit] Tati's second film, Les Vacances de Monsieur Hulot
Monsieur Hulot
(Monsieur Hulot's Holiday), was released in 1953. Les Vacances introduced the character of Mr. Hulot and follows his adventures in France during the mandatory August vacation at a beach resort, lampooning several hidebound elements of French political and social classes. It was shot almost entirely in the tiny west-coast seaside village of Saint-Marc-sur-Mer in the Loire Atlantique
Loire Atlantique
region. The hotel in which Mr. Hulot stays (l'Hôtel de la Plage) is still there,[15] and a statue memorialising the director has been erected on the beach.[16] Tati had fallen in love with the coast while staying in nearby Port Charlotte with his friends, Mr. and Mrs. Lemoine, before the war, and resolved to return one day to make a film there.[17] The film was widely praised by critics, and earned Tati an Academy Award nomination for Best Original Screenplay, which was shared with Henri Marquet. Production of the movie would also see the reintroduction of Jacques Lagrange into Tati's life, beginning a lifelong working partnership with the painter, who would become his set designer. Les Vacances de Monsieur Hulot remains one of the best-loved French films of that period. The film's comic influence has extended well beyond France and can be found as recently as 2007 in the Rowan Atkinson
Rowan Atkinson
comic vehicle Mr. Bean's Holiday.[18] André Bazin, founder of the influential journal Cahiers du cinéma, wrote in his 1957 essay, "Fifteen Years of French Cinema", that,

"Tati could easily have made lots of money with sequels featuring his comic character of the little rural mailman. He chose instead to wait for four years, and, after much reflection, he revised his formula completely. The result this time was an extraordinary masterpiece about which one can say, I think, that it is the most radical innovation in comic cinema since the Marx Brothers: I am referring, of course, to Les Vacances de M. Hulot."[19]

Various problems would delay the release of Tati's follow-up to his international hit. In 1955 he suffered a serious car accident that physically impaired his left hand. Then a dispute with Fred Orain ensued and Tati broke away from Cady Films to create his own production company, Spectra Films, in 1956. Mon Oncle
Mon Oncle
(My Uncle)[edit] Tati's next film, 1958's Mon Oncle
Mon Oncle
(My Uncle), was his first film to be released in colour. The plot centers on Mr. Hulot's comedic, quixotic and childlike struggle with postwar France's obsession with modernity and American-style consumerism, entwined with the relationship he has with his nine-year-old nephew Gérard. Mon Oncle quickly became an international success, and won that year's Academy Award for Best Foreign Language Film, a Special
Prize at Cannes, as well as the New York Film Critics Award. In Place de la Pelouse (Saint-Maur-des-Fossés) stands a bronze statue of Tati as Monsieur Hulot talking to a boy, in a pose echoing the movie's poster designed by Pierre Étaix.[20] On receiving his Oscar, Tati was offered any treat that the Academy could bestow on him. To their surprise, Tati simply requested the opportunity to visit Stan Laurel, Mack Sennett
Mack Sennett
and Buster Keaton
Buster Keaton
at their nursing homes. Keaton reportedly said that Tati's work with sound had carried on the true tradition of silent cinema.[21] As guest artistic director at AFI FEST 2010, David Lynch
David Lynch
selected Tati's Mon Oncle
Mon Oncle
alongside Hour of the Wolf
Hour of the Wolf
(Dir Ingmar Bergman), Lolita (Dir Stanley Kubrick), Rear Window
Rear Window
(Dir Alfred Hitchcock) and Sunset Boulevard (Dir Billy Wilder) to be screened in his sidebar program, explaining that,

"I picked these particular films because they are the ones that have inspired me most. I think each is a masterpiece."[22]

Of Tati, Lynch would add in a conversation with Jonathan Rosenbaum, "You know, I feel like in a way he's a kindred soul... That guy is so creative, it's unbelievable. I think he's one of the all-time greats."[23] Play Time[edit] Considered by many his masterpiece, Play Time
Play Time
(1967), shot in 70mm, was to be the most ambitious yet risky and expensive work of Tati's career. "After the success of Mon Oncle
Mon Oncle
in 1958, Jacques Tati
Jacques Tati
had become fed up with Monsieur Hulot, his signature comic creation. With international renown came a growing dissatisfaction with straightforward scenarios centered around one lovable, recognizable figure. So he slowly inched his way toward a new kind of film, a supremely democratic film that would be about "everybody".[24] It took nine years to make, and he had to borrow heavily from his own resources to complete the picture. "At the time of its making, Playtime
(1967) was the most expensive film in French history."[25] " Playtime
is the big leap, the big screen. I'm putting myself on the line. Either it comes off or it doesn't. There's no safety net." On the outskirts of Paris, Tati famously built an entire glass and steel mini-city (nicknamed Tativille) for the film, which took years to build and left him mired in debt. In the film, Hulot and a group of American tourists lose themselves in the futuristic glass and steel of commercially globalised modern Parisian suburbs, where only human nature and a few reflective views of the old city of Paris, itself, still emerge to breathe life into the sterile new metropolis. Play Time
Play Time
had even less of a plot than his earlier films, and Tati endeavored to make his characters, including Hulot, almost incidental to his portrayal of a modernist and robotic Paris. Play Time
Play Time
was originally 155 minutes in length, but Tati soon released an edited version of 126 minutes, and this is the version that became a general theatre release in 1967. Later versions appeared in 35mm format. In 1979, a copy of the film was revised again to 108 minutes, and this re-edited version was released on VHS video in 1984. Though Play Time
Play Time
was a critical success ( François Truffaut
François Truffaut
praised it as "a film that comes from another planet, where they make films differently"), it was a massive and expensive commercial failure, eventually resulting in Tati's bankruptcy. "Tati had approached everybody from Darryl F Zanuck
Darryl F Zanuck
to the prime minister Georges Pompidou in a bid to get the movie completed. His personal overdrafts began to mount, and long before Playtime
was finished," Bellos notes, "Tati was in substantial debt to the least forgiving of all creditors, the Collectors of Taxes." When he failed to pay off his loans, his films were impounded by the banks".[26] Tati was forced to sell the family house of Saint-Germain shortly after the death of his mother, Claire Van Hoof, and move back into Paris. Spectra Films was then placed into administration, concluding in the liquidation of the company in 1974, with an auction of all movie rights held by the company for little more than 120,000 francs. In 1969, with reduced means, Jacques Tati
Jacques Tati
created a new production company, CEPEC, to oversee his opportunities in movie and TV production. Spin-offs of Play Time[edit] While on the set of Play Time, Tati made a short film about his comedic and cinematic technique, Cours du soir (Evening Classes, 1967), in which Tati gives a lesson in the art of comedy to a class of would-be actors. In 1971 Tati "Suffered the indignity of having to make an advert for Lloyds Bank in England"[26] in which he depicted the bank of the future as being dehumanized with money dispensed from a computerized counter. "The message of the advert was that however modern Lloyds are, technology isn't everything and you'll always be able to speak to a "friendly member of staff or understanding manager" in their branches".[27] Reception[edit] In August 2012 the British Film Institute, polled 846 critics, programmers, academics and distributors to find "The Top 50 Greatest Films of All Time" and Play Time
Play Time
was voted 42nd in the list[28] In the corresponding "Directors Poll" by the BFI, Playtime
was awarded the accolade of being seen as the 37th greatest film of all time by his fellow directors. Steven Spielberg
Steven Spielberg
has said he was paying a "very slight homage" to Play Time in his 2004 film The Terminal,[29] adding, "I thought of two directors when I made Terminal. I thought this was a tribute to Frank Capra and his honest sentiment, and it was a tribute to Jacques Tati and the way he allowed his scenes to go on and on and on. The character he played in Monsieur Hulot's Holiday and Mon Oncle
Mon Oncle
was all about resourcefulness and using what's around him to make us laugh".[30] Trafic
(Traffic)[edit] The Dutch-funded Trafic
(Traffic), although originally designed to be a TV movie, received a theater release in 1971 and placed Monsieur Hulot back at the centre of the action. It was the last Hulot film, and followed the vein of earlier works that lampooned modern society. In the film, Hulot is a bumbling automobile inventor traveling to an exhibition in a gadget-filled recreational vehicle. Despite its modest budget, Trafic
was still very much a Tati film, carefully staged and choreographed in its scenes and effects. Parade[edit] Tati's last completed film, Parade, a film produced for Swedish television in 1973, is more or less a filmed circus performance featuring Tati's mime acts and other performers. Forza Bastia[edit] In 1978, Tati began filming a short documentary on Corsican football team SC Bastia
SC Bastia
playing the UEFA Cup Final, "Forza Bastia", which he did not complete. His younger daughter, Sophie Tatischeff, later edited the remaining footage, which was released in 2002 after her own death from lung cancer in 2001. Unmade films[edit] Confusion[edit] Before his death Tati had plans for at least one more film. Confusion, a planned collaboration with pop duo Sparks, was a story about a futuristic city (Paris) where activity is centred around television, communication, advertising, and modern society's infatuation with visual imagery. In the original script an aging Mr. Hulot was slated to be accidentally killed on-air. Ron Mael
Ron Mael
and Russell Mael
Russell Mael
would have played two American TV studio employees brought to a rural French TV company to help them out with some American technical expertise and input into how TV is really done. While the script still exists, Confusion was never filmed. What would have been its title track, "Confusion", appears on Sparks' 1976 Big Beat album with the internal sleeve of its 2006 re-mastered CD featuring a letter announcing the pending collaboration, as well as a photo of the Mael brothers in conversation with Tati.[31] Film Tati No. 4, The Illusionist[edit] Catalogued in the CNC (Centre National de la Cinématographie) archives under the title 'Film Tati Nº 4',[32] written in the late 1950s, the treatment was to have been the follow-up to Tati's internationally successful Mon Oncle. It tells the bittersweet tale of a modestly talented magician – referred to only as the Illusionist – who, during a tour of decaying music halls in Eastern Europe, protectively takes an impoverished young woman under his wing.[33] The semi-autobiographical script that Tati wrote in 1956 was released internationally as an animated film, The Illusionist, in 2010.[34] Directed by Sylvain Chomet, known for The Triplets of Belleville, the main character is an animated caricature of Tati himself. Controversy dogged the release of The Illusionist,[35][36][37] with The Guardian
The Guardian

In 2000, the screenplay was handed over to Chomet by Tati's daughter, Sophie, two years before her death. Now, however, the family of Tati's illegitimate and estranged eldest child, Helga Marie-Jeanne Schiel, who lives in the north-east of England, are calling for the French director to give her credit as the true inspiration for the film. The script of L'illusionniste, they say, was Tati's response to the shame of having abandoned his first child [Schiel] and it remains the only public recognition of her existence. They accuse Chomet of attempting to airbrush out their painful family legacy again.[38]

Tati's former colleagues at the Lido de Paris were appalled at his caddish behaviour and shunned him. As a result, he moved first to Berlin then to the village of Sainte-Sévère-sur-Indre, which later inspired his hugely successful film, Jour de Fête.[39][40] Personal life[edit] At the Lido de Paris he met and fell in love with the young Austrian/Czech dancer Herta Schiel, who had fled Vienna with her sister Molly at the time of the Anschluss. In the summer of 1942 Herta gave birth to their daughter, Helga Marie-Jeanne Schiel. Due to pressure from his sister Nathalie, Tati refused to recognise the child and was forced by Volterra to depart from the Lido at the end of the 1942 season.[41] In 1943, after a short engagement at the ABC,[12] where Édith Piaf
Édith Piaf
was headlining, Tati left Paris under a cloud, with his friend Henri Marquet, and they settled in the Village of Sainte-Sévère-sur-Indre. While residing there they completed the script for L'École des facteurs (The School for Postmen) that would later provide material for his first feature, Jour de fête. Herta Schiel would remain in Paris throughout the war, where she would make acquaintance with the physician Jacques Weil when he was called upon to treat her sister Molly for the then-incurable tuberculosis (TB). Through Weil, second in command of the Juggler network of the SOE F Section networks, both sisters were recruited into the French Resistance.[35] In 1944, Tati returned to Paris and, after a brief courtship, married Micheline Winter. On 23 October 1946 Tati fathered his second child, Sophie Catherine Tatischeff. 1949 was the year of the birth of Tati's son, Pierre-François Tatischeff, alias Pierre Tati. Both Pierre and Sophie would go on to work in the French film industry in various capacities, beginning in the early 1970s. Notably, they both worked on Jean-Pierre Melville's last film, Un flic, (1972). Death[edit] Weakened by serious health problems, Tati died on 4 November 1982, of a pulmonary embolism, leaving a final scenario called Confusion that he had completed with Jacques Lagrange. In Paris Match, Philippe Labro
Philippe Labro
reported the death of Jacques Tati under the heading, "Adieu Monsieur Hulot. On le pleure mort, il aurait fallu l'aider vivant !" ("Goodbye, Monsieur Hulot. In death we cry, in life we did not help!")[42] Legacy[edit] Les Films de Mon Oncle[edit] During the 1980s, concerned that their father's legacy would be permanently lost, Pierre and Sophie Tatischeff tracked the rights to their father's oeuvre to a bank in Switzerland. The bank, unable to trace the owner who had made the deposit, eventually returned the rights to Pierre and Sophie as heirs to their father's estate.[clarification needed] In 1995 after a year of meticulous work, Sophie with the aid of film technician Francois Ede was able for the first time to release a colour print of Jour de Fete as Tati had originally intended.[43] Having lost her brother Pierre to a traffic accident and having herself been diagnosed terminally ill, Sophie Tatischeff took the initiative to set up Les Films de Mon Oncle
Mon Oncle
in 2001 to preserve, restore, and circulate the work of Jacques Tati. Enrolling the service of Jérôme Deschamps, the artistic and cultural mission of Les Films de Mon Oncle
Mon Oncle
is to allow audiences as well as researchers to (re-)discover the work of Tati the filmmaker, his archives, and to ensure its influence around the world. The restoration of PlayTime began in 1998 when Sophie Tatischeff made the acquaintance of Jean-Rene Failot, technical director of the Gulliver Arane, the only remaining large-format film laboratory in Europe.[44] Because of difficulties acquiring appropriate funding, the restored version of PlayTime was not presented until 2002 at the 55th Cannes Film Festival, eight months after the death of Sophie Tatischeff. In 2004, Les Films de Mon Oncle
Mon Oncle
completed the restoration of My Uncle, the English version of Mon Oncle. This was followed by demanding editorial work for the DVDs of these films including original bonuses and a double CD titled Tati Sonorama! with the complete collection of film scores and soundtrack clips. In 2009 the partner of Deschamps, Macha Makeïeff, designed the exhibition "Jacques Tati, deux temps, trois mouvements" at the Cinémathèque Française
Cinémathèque Française
in Paris, for which she is co-curator along with Stephane Goudet, and installed the full-scale mythical Villa Arpel, the set of Mon Oncle
Mon Oncle
created by Jacques Tati
Jacques Tati
and his friend Jacques Lagrange, at the 104 (Paris, 19th arrondissement). In 2014 Les Films de Mon Oncle
Mon Oncle
formed a partnership with StudioCanal, Vivendi
who now oversee international distribution of the oeuvre of Jacques Tati, having released digitally restored versions of all his short and long films as boxsets in both DVD and Blu-Ray. Filmography[edit]

Year Title Director Screenwriter Actor Role Notes

1932 Oscar, champion de tennis

Yes Oscar Short film

1934 On demande une brute

Yes Yes Roustabat Short film

1935 Gai dimanche Yes Yes Yes Unknown Short film Co-directed with Jacques Berr

1936 Soigne ton gauche

Yes Yes Roger Short film

1938 Retour à la terre

Yes Yes Unknown Short film

1946 Sylvie et le fantôme (Sylvie and the Ghost)

Yes The Ghost of Alain de Francigny

1947 L'École des facteurs (School for Postmen) Yes Yes Yes Postman Short film

1947 Le Diable au corps (Devil in the Flesh)

Yes Officer at bar

1949 Jour de fête (The Big Day) Yes Yes Yes François, the postman

1953 Les Vacances de M. Hulot (Monsieur Hulot's Holiday) Yes Yes Yes Monsieur Hulot Also uncredited producer

1958 Mon Oncle (My Uncle) Yes Yes Yes Monsieur Hulot Also producer

1967 Play Time Yes Yes Yes Monsieur Hulot

1967 Cours du soir (Evening Classes)

Yes Yes Monsieur Hulot Short film

1971 Trafic
(Traffic) Yes Yes Yes Monsieur Hulot Also uncredited editor

1972 Obraz uz obraz

Yes Zak Episode: "1.5"

1974 Parade Yes Yes Yes Circus performer

1978 Forza Bastia Yes Yes

Documentary short

2010 The Illusionist


Original screenplay only


Cannes festival 1958: Grand prix for Mon Oncle[45] Academy Awards
Academy Awards
1958: Best Foreign Language Film for Mon Oncle[46] 6th Moscow International Film Festival, Silver Prize for Playtime.[47] In 1977, he received an honorary César from the French Film Institute for his lifetime contribution to cinema.


^ " Jacques Tati
Jacques Tati
• Great Director profile • Senses of Cinema". sensesofcinema.com. Retrieved 23 May 2017.  ^ "Votes for Playtime
(1967)". British Film Institute. Retrieved 12 February 2017.  ^ Jacques Tati, His Life and Art, David Bellos, Random House. [1] ^ "Кинопанорама - Мультфильм «Иллюзионист» и дочери Жака Тати". rfi.fr. 20 February 2011. Retrieved 23 May 2017.  ^ (Bellos 2002, 1), " Une famille bien française : les Tatischeff " ^ "and Lynch on Mon Oncle", Jacques Tatischeff at 109sec". yalerecord.com. Archived from the original on 9 November 2011. Retrieved 23 May 2017.  ^ (Bellos 2002, 2), "Les Cadres Van Hoof". ^ (Bellos 2002, 3), "Le dragon". ^ (Bellos 2002, 4), "Drôle d'école". ^ Il a conservé le statut et la rémunération d'apprenti, n'ayant pas réussi l'examen pour devenir ouvrier. ^ (Bellos 2002, p. 56 et 57) : affiches pour 1931 (Sport muet par Jacques Tattischeff) et 1933, où il est cité en haut de l'affiche : J. Taticheff. ^ a b ABC_(music-hall) French for l'ABC ^ (Bellos 2002, 6, 8, 10). ^ Colette, "Spectacles de Paris", Le Journal, 28 June 1936, quoted in (Bellos 2002, 63). ^ "l'Hotel de la Plage" ^ Simkins, Michael (24 April 2010). "Happy vacances: Jacques Tati's France". The Guardian. London.  ^ "le département de la Loire". Annuaire-Mairie. Retrieved 23 May 2017.  ^ R Mr Bean's Holiday[permanent dead link] ^ "André Bazin: Fifteen Years of French Cinema 1957". brightlightsfilm.com. Retrieved 23 May 2017. [permanent dead link] ^ "Google Translate". translate.google.com. Retrieved 23 May 2017.  ^ (Bellos 1999, p. 226), " The Old World and the New ". ^ Films Selected by David Lynch, archived from the original on 24 March 2012  ^ Rosenbaum, Jonathan (22 July 2009), </ Tati's Influence on David Lynch  ^ "Playtime". criterion.com. Retrieved 23 May 2017.  ^ ""Roger Ebert, Ebertfest, Playtime"". ebertfest.com. Archived from the original on 17 March 2016. Retrieved 23 May 2017.  ^ a b Macnab, Geoffrey (21 May 2002). "Tati for now". Retrieved 23 May 2017 – via The Guardian.  ^ "Bank Of The Future (In 1971)". money-watch.co.uk. 15 February 2011. Retrieved 23 May 2017.  ^ "The 50 Greatest Films of All Time - Sight & Sound". bfi.org.uk. Retrieved 23 May 2017.  ^ " The Terminal
The Terminal
is a summer movie we can't wait to see". ew.com. 21 April 2004. Retrieved 23 May 2017.  ^ "Age & Innocence - Steven Spielberg". www.dga.org. Retrieved 23 May 2017.  ^ Galliano, Joseph (30 October 2009). "Striking Sparks with Bergman – The Mael brothers' new album takes a poke at Hollywood". The Times. London. Retrieved 24 April 2010.  ^ "Sony Classics, The Illusionist presskit"" (PDF). sonyclassics.com. Retrieved 23 May 2017.  ^ Kehr, Dave (29 October 2010). "Sylvain Chomet's 'Illusionist' Uses Scenario by Jacques Tati". Retrieved 23 May 2017 – via NYTimes.com.  ^ Hamilton, Fiona; Coates, Sam; Savage, Michael (17 February 2007). "Cut the cute". The Times. London.  ^ a b Roger Ebert's Journal; "The secret of Jacques Tati" 2010-05. Accessed 2010-08-19 Archived 31 May 2010 at the Wayback Machine. ^ "Jacques Tatis ode to his illegitimate daughter". 2010-06-16 Daily Telegraph. Accessed 2010-08-19 ^ "Sylvain Chomet: the trials of making "The Illusionist"Time Out Magazine. Accessed 2010-08-19 ^ "Jacques Tati's lost film reveals family's pain". Guardian article 2010-01-31. ^ "Illusions of grandeur". Irish Independent. 21 August 2010.  ^ "La postérité de M. Hulot". nonfiction.fr. Retrieved 23 May 2017.  ^ David Bellos, " La postérité de M. Hulot ", sur non-fiction, 25 mars 2008. ^ Paris Match, 19 novembre 1982, no. 1747. ^ "Jour de fete - Jonathan Rosenbaum". www.jonathanrosenbaum.net. Retrieved 23 May 2017.  ^ "The restoration of "Play Time"". in70mm.com. Retrieved 23 May 2017.  ^ "Festival de Cannes: Mon Oncle". festival-cannes.com. Retrieved 2009-02-10.  ^ "The 31st Academy Awards
Academy Awards
(1959) Nominees and Winners". oscars.org. Retrieved 2011-10-27.  ^ " 6th Moscow International Film Festival (1969)". MIFF. Archived from the original on 16 January 2013. Retrieved 2012-12-17. 

External links[edit]

Wikimedia Commons has media related to Jacques Tati.

Jacques Tati
Jacques Tati
on IMDb Tati Bibliography via UC Berkeley The Official Jacques Tati
Jacques Tati
website Jacques Tati
Jacques Tati
profile at FilmsdeFrance.com "Confusion" Jacques Tati's unfinished film Museum of Modern Art retrospective in the Village Voice Jacques Tati's ode to his illegitimate daughter, The Telegraph, 16 June 2010

v t e

Films of Jacques Tati

Feature length

Jour de fête Les Vacances de Monsieur Hulot Mon Oncle Playtime Trafic Parade


"Gai dimanche" "School for Postmen" "Forza Bastia"


Monsieur Hulot The Illusionist

v t e

Academy Award for Best Foreign Language Film

1947–1955 (Honorary)

1947: Shoeshine – Vittorio De Sica 1948: Monsieur Vincent
Monsieur Vincent
– Maurice Cloche 1949: Bicycle Thieves
Bicycle Thieves
– Vittorio De Sica 1950: The Walls of Malapaga – René Clément 1951: Rashomon
– Akira Kurosawa 1952: Forbidden Games
Forbidden Games
– René Clément 1953: No Award 1954: Gate of Hell – Teinosuke Kinugasa 1955: Samurai, The Legend of Musashi – Hiroshi Inagaki


1956: La Strada
La Strada
– Federico Fellini 1957: Nights of Cabiria
Nights of Cabiria
– Federico Fellini 1958: My Uncle – Jacques Tati 1959: Black Orpheus
Black Orpheus
– Marcel Camus 1960: The Virgin Spring
The Virgin Spring
– Ingmar Bergman 1961: Through a Glass Darkly – Ingmar Bergman 1962: Sundays and Cybele
Sundays and Cybele
– Serge Bourguignon 1963:
– Federico Fellini 1964: Yesterday, Today and Tomorrow
Yesterday, Today and Tomorrow
– Vittorio De Sica 1965: The Shop on Main Street
The Shop on Main Street
Ján Kadár & Elmar Klos 1966: A Man and a Woman
A Man and a Woman
– Claude Lelouch 1967: Closely Watched Trains
Closely Watched Trains
– Jiří Menzel 1968: War and Peace – Sergei Bondarchuk 1969: Z – Costa-Gavras 1970: Investigation of a Citizen Above Suspicion
Investigation of a Citizen Above Suspicion
– Elio Petri 1971: The Garden of the Finzi Continis – Vittorio De Sica 1972: The Discreet Charm of the Bourgeoisie
The Discreet Charm of the Bourgeoisie
– Luis Buñuel 1973: Day for Night – François Truffaut 1974: Amarcord
– Federico Fellini 1975: Dersu Uzala – Akira Kurosawa


1976: Black and White in Color
Black and White in Color
– Jean-Jacques Annaud 1977: Madame Rosa
Madame Rosa
– Moshé Mizrahi 1978: Get Out Your Handkerchiefs
Get Out Your Handkerchiefs
– Bertrand Blier 1979: The Tin Drum – Volker Schlöndorff 1980: Moscow Does Not Believe in Tears
Moscow Does Not Believe in Tears
– Vladimir Menshov 1981: Mephisto – István Szabó 1982: Volver a Empezar ('To Begin Again') – José Luis Garci 1983: Fanny and Alexander
Fanny and Alexander
– Ingmar Bergman 1984: Dangerous Moves
Dangerous Moves
– Richard Dembo 1985: The Official Story
The Official Story
– Luis Puenzo 1986: The Assault – Fons Rademakers 1987: Babette's Feast – Gabriel Axel 1988: Pelle the Conqueror
Pelle the Conqueror
– Bille August 1989: Cinema Paradiso – Giuseppe Tornatore 1990: Journey of Hope – Xavier Koller 1991: Mediterraneo – Gabriele Salvatores 1992: Indochine – Régis Wargnier 1993: Belle Époque – Fernando Trueba 1994: Burnt by the Sun
Burnt by the Sun
– Nikita Mikhalkov 1995: Antonia's Line
Antonia's Line
– Marleen Gorris 1996: Kolya
– Jan Svěrák 1997: Character – Mike van Diem 1998: Life Is Beautiful
Life Is Beautiful
– Roberto Benigni 1999: All About My Mother
All About My Mother
– Pedro Almodóvar 2000: Crouching Tiger, Hidden Dragon
Crouching Tiger, Hidden Dragon
– Ang Lee


2001: No Man's Land – Danis Tanović 2002: Nowhere in Africa – Caroline Link 2003: The Barbarian Invasions
The Barbarian Invasions
– Denys Arcand 2004: The Sea Inside
The Sea Inside
– Alejandro Amenábar 2005: Tsotsi
– Gavin Hood 2006: The Lives of Others
The Lives of Others
– Florian Henckel von Donnersmarck 2007: The Counterfeiters – Stefan Ruzowitzky 2008: Departures – Yōjirō Takita 2009: The Secret in Their Eyes
The Secret in Their Eyes
– Juan J. Campanella 2010: In a Better World
In a Better World
– Susanne Bier 2011: A Separation – Asghar Farhadi 2012: Amour – Michael Haneke 2013: The Great Beauty
The Great Beauty
– Paolo Sorrentino 2014: Ida – Paweł Pawlikowski 2015: Son of Saul
Son of Saul
– László Nemes 2016: The Salesman – Asghar Farhadi 2017: A Fantastic Woman
A Fantastic Woman
– Sebastián Lelio

v t e

Honorary César


Ingrid Bergman
Ingrid Bergman
(1976) Diana Ross
Diana Ross
(1976) Henri Langlois
Henri Langlois
(1977) Jacques Tati
Jacques Tati
(1977) Robert Dorfmann (1978) René Goscinny
René Goscinny
(1978) Marcel Carné
Marcel Carné
(1979) Charles Vanel
Charles Vanel
(1979) Walt Disney
Walt Disney
(1979) Pierre Braunberger (1980) Louis de Funès
Louis de Funès
(1980) Kirk Douglas
Kirk Douglas
(1980) Marcel Pagnol
Marcel Pagnol
(1981) Alain Resnais (1981) Georges Dancigers (1982) Alexandre Mnouchkine (1982) Jean Nény (1982) Andrzej Wajda
Andrzej Wajda
(1982) Raimu
(1983) René Clément
René Clément
(1984) Georges de Beauregard (1984) Edwige Feuillère
Edwige Feuillère
(1984) Christian-Jaque (1985) Danielle Darrieux
Danielle Darrieux
(1985) Christine Gouze-Rénal (1985) Alain Poiré (1985) Maurice Jarre
Maurice Jarre
(1986) Bette Davis
Bette Davis
(1986) Jean Delannoy
Jean Delannoy
(1986) René Ferracci (1986) Claude Lanzmann
Claude Lanzmann
(1986) Jean-Luc Godard
Jean-Luc Godard
(1987) Serge Silberman (1988) Bernard Blier
Bernard Blier
(1989) Paul Grimault
Paul Grimault
(1989) Gérard Philipe
Gérard Philipe
(1990) Jean-Pierre Aumont
Jean-Pierre Aumont
(1991) Sophia Loren
Sophia Loren
(1991) Michèle Morgan
Michèle Morgan
(1992) Sylvester Stallone
Sylvester Stallone
(1992) Jean Marais
Jean Marais
(1993) Marcello Mastroianni
Marcello Mastroianni
(1993) Gérard Oury
Gérard Oury
(1993) Jean Carmet
Jean Carmet
(1994) Jeanne Moreau
Jeanne Moreau
(1995) Gregory Peck
Gregory Peck
(1995) Steven Spielberg
Steven Spielberg
(1995) Lauren Bacall
Lauren Bacall
(1996) Henri Verneuil
Henri Verneuil
(1996) Charles Aznavour
Charles Aznavour
(1997) Andie MacDowell
Andie MacDowell
(1997) Michael Douglas
Michael Douglas
(1998) Clint Eastwood
Clint Eastwood
(1998) Jean-Luc Godard
Jean-Luc Godard
(1998) Pedro Almodóvar
Pedro Almodóvar
(1999) Johnny Depp
Johnny Depp
(1999) Jean Rochefort
Jean Rochefort
(1999) Josiane Balasko
Josiane Balasko
(2000) Georges Cravenne
Georges Cravenne
(2000) Jean-Pierre Léaud
Jean-Pierre Léaud
(2000) Martin Scorsese
Martin Scorsese


Darry Cowl (2001) Charlotte Rampling
Charlotte Rampling
(2001) Agnès Varda
Agnès Varda
(2001) Anouk Aimée
Anouk Aimée
(2002) Jeremy Irons
Jeremy Irons
(2002) Claude Rich
Claude Rich
(2002) Bernadette Lafont
Bernadette Lafont
(2003) Spike Lee
Spike Lee
(2003) Meryl Streep
Meryl Streep
(2003) Micheline Presle
Micheline Presle
(2004) Jacques Dutronc
Jacques Dutronc
(2005) Will Smith
Will Smith
(2005) Hugh Grant
Hugh Grant
(2006) Pierre Richard
Pierre Richard
(2006) Marlène Jobert
Marlène Jobert
(2007) Jude Law
Jude Law
(2007) Jeanne Moreau
Jeanne Moreau
(2008) Roberto Benigni
Roberto Benigni
(2008) Dustin Hoffman
Dustin Hoffman
(2009) Harrison Ford
Harrison Ford
(2010) Quentin Tarantino
Quentin Tarantino
(2011) Kate Winslet
Kate Winslet
(2012) Kevin Costner
Kevin Costner
(2013) Scarlett Johansson
Scarlett Johansson
(2014) Sean Penn
Sean Penn
(2015) Michael Douglas
Michael Douglas
(2016) George Clooney
George Clooney
(2017) Penélope Cruz
Penélope Cruz

Authority control

WorldCat Identities VIAF: 96523795 LCCN: n79095602 ISNI: 0000 0001 2144 475X GND: 118753967 SELIBR: 287539 SUDOC: 028587642 BNF: cb12039341n (data) ULAN: 500112168 MusicBrainz: 7521615f-6d15-4cb1-89d6-35f0eb34d9a9 NLA: 35609029 NDL: 00696718 NKC: mzk2006356159 ICCU: ITICCUSBLV126790 BNE: XX1405619