Attempting to adapt Jacques Tati’s 1967 masterpiece is courageous, maybe even reckless. Often classed among the greatest ever films, it has a flimsy plot, long shots of moving crowds and minimal dialogue. To add to the challenge there’s Tati’s own performance as Monsieur Hulot, rendering exquisite moments of physical comedy and mime.
The miracle of Valentina Ceschi and Thomas Eccleshare’s production is that it works, at least in the first half. Under their direction, the drama is given a cutesy romance and quirkiness. The film’s gags work well theatrically and the characterisation contains clowning beyond Monsieur Hulot alone – everyone’s trousers are a few inches too short.
