Mister Hulot's Holiday *****

If there is one thing I understand less than the American obsession with Jerry Lewis, it's the French obsession with him. I've seen all of Lewis's films and I come away with the same conclusion each time - that Dean Martin sure is talented - but why's he with the idiot?

Lewis might be a nice man, but no one has ever gone to the theatre and said "Let's watch Hardly Working. It's not funny, but that Jerry Lewis sure in a nice man." If I can't write or have no opinion, you're not going to read my stuff just because I kiss babies. With that said, I can somehow see how he could be seen as a curiosity in America. Like a bearded lady or a car accident.

During his heyday when he was making millions not laugh around the world, at least there was no one in America like him. If nothing else he was different. To paraphrase Samuel Johnson, American physical comedy in the 1950s was like a dog walking on its hind legs, it was rarely done well, but you were surprised to find it done at all. In France, they had no excuse. In France, they had Jacques Tati.

You never heard of M. Tati? Well you should know him. Basically, he is France's version of Charlie Chaplin while Lewis is America's version of some unfunny French comedian. Tati had a physical style similar to that of Lewis, but Tati was funnier. The bad thing about this for Lewis is that Tati was a comedian whose stunts rarely resulted in belly laughs. He didn't go for belly laughs and he still achieved more of them than Lewis and his pathetic, desperate style did. Tati's stunts were more nostalgic and amusing. He just looked pleasant in everything he did. It was a pleasant experience to watch one of Tati's films, unlike Lewis's movies where you are guaranteed to cringe at least five times.

Tati made three movies which I believe are classics - Mon Oncle, Playtime and Mister Hulot's Holiday. Many prefer Playtime; I'll go with the latter. Holiday was made in 1953 and was a huge international hit. For those who are afraid of sub-titles don't worry.

It has been said many times that the perfect film would require no dialogue. You would be able to complete understand what is going on from the visuals alone. This is certainly true with all of Tati's films. The basic plot is M. Hulot going to Brittany to spend his mandatory month's vacation (don't forget we're in France - and in honor of that we're going with the 1953 Chateau de Beaucastel from Rhone as the official wine of this review). He arrives in a 1924 Amilcar CSG and if you haven't seen one, it's hard to describe it. Picture a combination of a 1950s sports car and a Model T. Bottom line; it's amusing to look at; as is Hulot. Tati's Hulot is a very long angular man in a white suit with short pants. He is always smoking a long corn pipe.

From here, as would be expected in such a comedy, nothing goes right. What makes this movie different is that major things don't go wrong, it just little things that annoy like mosquitoes. Such as the wind gusting in Hulot's bungalow causing havoc every time he opens his door. It's also about the people, such as the waiter who can't believe how much his customers torture him by actually wanting food (If you've ever been to an actual French joint, you may get a few belly laughs out of this guy). There are other such people like the retired general who is offended by most of the world's inhabitants. Then there is the couple who act like those people in the convenience store who insist on pulling out every gallon of milk and giving it a complete inspection before deciding on their final purchase.

The film itself also looks beautiful. Even when there is nothing humorous occuring, it's just pleasant to look at the screen, like watching a beautiful painting of a resort town.

So here are your options if you are a 1950s French film-goer. You can watch the escapades of M. Hulot and his friends or you can stare at some guy screaming "Heeeeey, Laaaaaaady." Makes you question how the French got their reputation for good taste, doesn't it? That was a fine bottle of wine, though.