Jacques Tati

Monsieur Hulot’s Holiday

Monsieur Hulot’s Holiday

Monsieur Hulot, Jacques Tati’s endearing clown, takes a holiday at a seaside resort, where his presence provokes one catastrophe after another. Tati’s masterpiece of gentle slapstick is a series of effortlessly well-choreographed sight gags involving dogs, boats, and firecrackers; it was the first entry in the Hulot series and the film that launched its maker to international stardom.

Film Info

  • Jacques Tati
  • France
  • 1953
  • 87 minutes
  • Black & White
  • 1.37:1
  • French
  • Spine #110

Special Features

  • New 2K digital restoration of director Jacques Tati’s 1978 rerelease version, with uncompressed monaural soundtrack on the Blu-ray
  • Original 1953 version of the film
  • Introduction by actor and comedian Terry Jones
  • Clear Skies, Light Breeze, a 2013 visual essay by Tati expert Stéphane Goudet about the debut of Monsieur Hulot
  • Interview with Tati from a 1978 episode of the French television program Ciné regards
  • New interview with film composer and critic Michel Chion on Tati’s use of sound design
  • Optional English-language soundtrack for the rerelease version
  • New English subtitle translation

Available In

Collector's Set

Essential Art House: 50 Years of Janus Films

Essential Art House: 50 Years of Janus Films

DVD Box Set

50 Discs

$650.00

Collector's Set

The Complete Jacques Tati

The Complete Jacques Tati

Blu-Ray Box Set

7 Discs

$99.96

Collector's Set

The Complete Jacques Tati

The Complete Jacques Tati

DVD Box Set

12 Discs

$99.96

Special Features

  • New 2K digital restoration of director Jacques Tati’s 1978 rerelease version, with uncompressed monaural soundtrack on the Blu-ray
  • Original 1953 version of the film
  • Introduction by actor and comedian Terry Jones
  • Clear Skies, Light Breeze, a 2013 visual essay by Tati expert Stéphane Goudet about the debut of Monsieur Hulot
  • Interview with Tati from a 1978 episode of the French television program Ciné regards
  • New interview with film composer and critic Michel Chion on Tati’s use of sound design
  • Optional English-language soundtrack for the rerelease version
  • New English subtitle translation
Monsieur Hulot’s Holiday
Cast
Jacques Tati
Monsieur Hulot
Nathalie Pascaud
Martine
Micheline Rolla
The aunt
Valentine Camax
Englishwoman
Louis Perrault
Fred
André Dubois
Commandant
Lucien Frégis
Hotel proprietor
Raymond Carl
Waiter
René Lacourt
Strolling couple
Marguerite Gérard
Strolling couple
Suzy Willy
Commandant's wife
Georges Adlin
South American man
Credits
Director
Jacques Tati
Written by
Jacques Tati
Written by
Henri Marquet
With the collaboration of
Pierre Aubert
With the collaboration of
Jacques Lagrange
Cinematography
Jacques Mercanton
Cinematography
Jean Mousselle
Camera operators
Pierre Ancrenaz
Camera operators
André Villard
Camera assistants
Max Le Chevallier
Camera assistants
Fabien Tordjmann
Camera assistants
André Marquette
Editors
Jacques Grassi
Editors
Ginou Bretoneiche
Editors
Suzanne Baron
Music
Alain Romans
Sound
Roger Cosson
Sound recordist
Jacques Carrère
Set decoration
Henri Schmitt
Set decoration
Roger Briaucourt
Script supervisor
Sylvette Baudrot
Props
Pierre Clauzel
Special effects
André Pierdel
Produced by
Fred Orain
Produced by
Cady Films

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Explore

Jacques Tati

Writer, Actor, Director

It’s rare for a director’s physical appearance to be as iconic as Jacques Tati’s is. Not just the writer and director of a series of beloved French comedies—including M. Hulot’s Holiday, Mon oncle, Playtime, and Trafic—but their star, Tati embodied the befuddled, eternally umbrella-carrying and trench-coated Monsieur Hulot, perennially unable to adjust to a rapidly modernizing world, with empathy and a delightful comic precision. The latter trait was undoubtedly due to his early career as a mime in French music halls; when he switched to film, he adapted his penchant for mute comedy not only to his character but also to his directing style. There’s very little audible dialogue in Tati’s films, and their spare use of sound contributes to the overall sense they create of a forbidding, contemporary world in which Hulot feels adrift and superfluous. Add Tati’s brilliant knack for composition, expertise at choreographing deadpan slapstick, and grandiose vision (his 70 mm Playtime, one of the most expensive French productions in history to that point, bankrupted him), and you’ve got one of the most enjoyable, singular oeuvres in film.