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The Triplets of Belleville

July 6, 2009

by John Farr

If you enjoyed The Triplets of Belleville, you might also enjoy these great films:

M. Hulot’s Holiday


Before Inspector Clouseau, there was the gifted actor/director Jacques Tati and his creation, Monsieur Hulot: a kind eccentric who, in his physical interactions, appears out of step with the modern world. This first Hulot film lampoons the conventions of the French as they travel en-masse to the seaside during one sweltering summer. Predictably, Hulot’s presence livens things up considerably.


The first fabulous Hulot picture where sound and dialogue are mere accents to the observance of mundane, everyday activity. Tati’s brilliance lies in showing us just how, with Hulot’s special touch, these rituals and routines can be put off kilter. The result: a masterpiece of subtle visual humor and an homage to the forgotten conventions of silent film comedy.

Mon Oncle


Unemployed Parisian M. Hulot (Jacques Tati) lives in a baffling, ultra-modern world, especially when he gets lost in the gadget-packed, whatsit maze of his sister’s house. Sweetly naive, the clumsy bohemian escorts his nephew, Gerald Arpel (Alain Becourt), home from school each day, only to court disaster when he wanders through the Arpels’ mechanically enhanced home.


France’s answer to Buster Keaton and Charlie Chaplin, comic genius Jacques Tati leads us on an uproarious trek through the futuristic 1950s in “Mon Oncle,” his first color feature. With hardly any dialogue, Tati orchestrates one hilarious pratfall sequence after another, involving everything from wild gizmos to click-clacking high heels, and even a downbeat dachsund. Like Chaplin, Tati was a perfectionist, and the Oscar-winning “Mon Oncle” is exactly that: A perfect collision of madcap slapstick and social satire, with a Tramp-like heart.



M. Hulot (Jacques Tati), a Parisian bewildered by modern technology, spends one hectic morning attempting to keep an appointment with M. Giffard (Georges Montant) in a towering, ultra-modern office building filled with automaton-like workers. Meanwhile, a group of American tourists including Barbara (Dennek) disembark at Orly airport and take a bus to their hotel. He and she eventually meet in the hustle and bustle of a glitzy, shimmering new supper club, once Hulot has navigated the whirring, humming cityscape that entraps him.


Preceded almost ten years earlier by “Mon Oncle,” this marvelous French comedy continues the misadventures of Tati’s Chaplin-esque everyman, M. Hulot. The most dazzling and technically accomplished of his films, “Playtime” is a light satire on the mesmerizing and disorienting effects of technology. Filmed in 70mm on a vast set-an extant metropolis that Parisians dubbed “Tati-ville”-“Playtime” is a jaw-dropping spectacle that certainly reflects the director’s wistful regard for simpler times. Still, the carnival-like sequence in the nightclub and the symphonic traffic jam that close the film feel warm, fun, and somehow exquisitely human.



This jittery, genre-crossing drama follows three interwoven storylines: the efforts of Mexican narcotics cop Javier (Oscar winner Benicio Del Toro) to bust up the Obregon cartel; the parallel work of San Diego DEA agents Ray Castro and Montel Gordon (Luis Guzman and Don Cheadle), whose arrest of a drug-trafficking kingpin forces his pregnant wife Helena (Catherine Zeta-Jones) to deal with underworld associates; and the ironic ignorance of newly minted U.S. drug czar Robert Wakefield (Michael Douglas), a man strikingly unaware that his privileged, high-school-age daughter Caroline (Erika Christensen) has become a free-basing cokehead.


Scripted by Stephen Gaghan from an acclaimed BBC miniseries, Soderbergh’s Oscar-winning “Traffic” is a hard-hitting, superbly stylized exposé of the war on drugs. Visually slick and masterfully directed, the film works beautifully as an ensemble drama of interconnected vignettes, and as a wake-up call to parents, educators, and clueless officials, highlighting the insidious ways illegal narcotics infiltrate the culture-and the mostly ineffective means we have of rooting them out. An exhilarating reality check that’ll keep you hooked.

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