L'école des facteurs

Most people reading this will have seen Jour de Fête already. L'École des Facteurs is better. In all arts I find paring the subject down its essentials makes a greater impact on the viewer or listener. Whereas Jour de Fête is a nostalgic look at a fading France, L'École is all action of character and his foils. Few moments are left for the foils (or victims) to react, not a moment is wasted. It is a series of sketches seamlessly stitched together into a hilarious narrative- not an easy feat.

But I am of the television generation, to whom 22 minutes makes an hour. I want my entertainment to get down to business, which may explain why I prefer the short format.

Eh bien, vous avez besoin de quelque chose de plus? (What more do you need?)

It is one of the best early work of Tati. You can find all the gags of 'L'école des facteurs' in 'jour de fête' but I think that the timing is better in this one. It is in this piece that you realise how perfectionist Tati was.

Jacques Tati is very funny in this short film. Most of the scenes are used again in «Jour de fête» (1948), a full feature film.

François (played by Tati) is the local postman somewhere in rural France. He wants to be as fast as the American postmen!

Very funny movie that reminded me of some classic Chaplin performances from the 20's.

Out of 100, I gave it 80. That's *** on a four stars rating system.

In this short film - a sort of character study for the later full length feature 'Jour de Fete', Tati plays a postman who has to operate more efficiently to meet a new schedule. The way in which he tries to speed up his round while still sticking to all the human interactions that come with being a postmen in the - still rural - setting of a small French village in the mid of the 20th century. Tati's physical slapstick is simply delightful. His humour is never rude or degrading to anyone involved but merely wonders about the intricacies of human interaction. He has an incredible talent for showing us what this is *really* about and is disarming in his directness and honesty. Especially the dance sequence in the café brings my mind to a halt every time I see it ... there are no words to really do it justice.

While I feel that a knowledge of Tati's entire oeuvre would be necessary to comment appropriately on his genius for physical comedy, this short is a fine introduction to the hallmarks of his style.

His gift for physical comedy is underscored by an understanding of the nuance and rhythm of motion, and how it portrays character. Underneath it all is his unfailing warmth for the beauty and simplicity of the human community -- at least the community where our familiarity with our neighbors carries the sweetness and lyricism so lost in the icy excess of the modern...and post-modern.

The scene where he enters a cafe and dances to jazz music, along with a few other couples who happen to be in the cafe, is masterful. The postman's joy in dance, in motion, and, most of all, in the spontaneous, is the stuff of genius.

What's more, it's great entertainment.

You may also marvel and wonder at just how he technically accomplished the shots of the postman's bicycle riding itself. My opinion is that Tati was a remarkable artist and the 20th century was graced by his presence beyond its merit.

Tati did more in less than half an hour here than most film artists will accomplish in their career.