It’s common consensus that Soigne ton gauche is the best of the three 30s shorts to star Jacques Tati, a consensus with which I’m inclined to agree. And while it gives strong indications that Tati was growing as a writer and a screen performer, an equally critical factor in its success is René Clément, one of his only comedies and earliest efforts as director here but a competent and accomplished work nonetheless. Clément favours a rapid, highly dynamic pace through highly varied and dynamic camera angles, energetic camera movements, occasional undercranking, and rapid edits. This last point — at once the most accomplished stylistic trait of the film and perhaps its most misguided — makes itself clear as soon as the short opens.
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Notes on Tati: Gai dimanche (1935)
While On demande une brute is by any standard a thoroughly clumsy work that neither conforms clearly to Tati’s pre-filmic mime act nor the tastes and interests he would come to display as the world’s pre-eminent master of cinematic high comedy, Gai dimanche is both an unmistakably formative work and a far greater success. The setup foregrounds the modus operandi that came to define Tati’s approach: breakdowns of human behaviour across class that show up the absurdity of social programming and how it pervades spaces of work and of leisure.
Read MoreNotes on Tati: On demande un brute (1934)
As the oldest surviving film to feature Jacques Tati, this provides an interesting ground zero for his talents, even if it's a pretty lousy cast-off of a comedy. Here, Tati co-wrote with Alfred Sauvy this short about a young, lanky actor named Roustabat, who has trouble getting cast, and whose domestic partner is constantly insulting him and his vocation. Meanwhile, a low-level fight organizer is having trouble booking an opponent for a wrestling match he's already sold out (nobody wants to fight his infamously brutish star fighter), and so he publishes in the newspaper a vague call for men "specializing in violent roles". You can probably fill in most of the blanks from there.
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