It’s about fifteen minutes before lead (and director) Jacques Tati appears in Jour de fête. The film opens with a travelling fair arriving at its destination and starting to set up. Paul Frankeur and Guy Decomble are the two main fair workers–actually they’re the only fair workers with anything to do except Santa Relli as Decomble’s wife. Besides starting to set up the merry-go-round, Decomble has time to make eyes at local girl Maine Vallée. Delcassan plays another resident, an old woman who narrates the goings on for the benefit of the audience–and, presumably, the goat she’s always got with her. The device is rather charming. Tati usually employs long shots, letting the action play out gradually, individual elements building until they intersect–for example, Tati, as actor, gets introduced in dialogue when Relli sends Decomble to mail a letter instead of making eyes at Vallée.
Jean Yatove’s music perfectly accompanies the gentle action.
Tati–as actor–arrives as some men are trying to put up a pole for the fair. Decomble and Frankeur are on the sidelines, offering unhelpful commentary, then draft Tati into action. He’s a bicycle postman, he gets around, he should know how to put up a pole. For most of the film, Jour is a series of intricately connected vingettes. Tati and cowriters Henri Marquet and René Wheeler occasionally pause one vignette to move on to another–Tati’s postman is easily distracted, whether by putting up a pole or getting blasted at the café, making the movements organic.
There’s a lot of physical comedy and callbacks to previous gags. Tati introduces himself biking into town and battling a bee. As he moves, in the distance, across the frame, the bee jumps forward to pester the farmer who’s in the foreground of the shot, before returning to Tati as the bicycle moves past the farmer. There’s a lot of subtle, inventive shots. There are also some obvious sight gags, which usually work–and manage to be charming thanks to the filmmaking and, particularly, the music–but are still kind of cheap.
After introducing Tati’s postman and getting the fair setup on track, the film jumps ahead a bit–with Delcassan offering some more commentary–as the townspeople head to square for the fair, which includes a cinema. The cinema becomes important later. Before it does, however, there’s a lot more with Tati. He can’t refuse the multiple invitations to drink at the café, culminating in Decomble and Frankeur–in a genial malice–getting him incredibly drunk. Sober, Tati’s postman is scatterbrained. Blasted, he’s wholly incompetent.
In between some of the drinking, Tati sees a short film in the cinema showing the U.S. postal service, which implements all the latest technology to deliver the mail. Latest technology like helicopters and skydivers and stunt motorcycles. How can the French compete. Especially since Tati spends the rest of the day in the bar before heading out at night to finish his deliveries. The townspeople have gone to bed, leading to multiple complications, before Tati just passes out drunk.
The next day, however, he’s invigorated and ready to show off how fast he can deliver the post. No surprise, Decomble and Frankeur have given him multiple bad ideas on how he can increase his efficiency.
Tati’s wild ride–which includes some incredible physical comedy and elaborate action direction–happens about an hour into the film’s ninety minute runtime. It doesn’t take the whole last third, but most of it. It’s always inventive, always amusing (or better), but somewhat detached from the rest of the film. Jour’s no longer about the townspeople or the fair, now it’s all Tati and the hyper-speed mail delivery.
Tati, as director, brings it all together for the finish but far less organically than anything else in the picture. The long sequence works–Tati’s hitting familiar places populated by now familiar faces–but it doesn’t fit with the rest. The wrap-up is well-executed, effective, closes all the open threads, but is far from seamless. It treats Tati’s wild ride as a tangent, while the rest of the film built up to the wild ride as though it were the intended result.
So a disjointed–while still more than adequate–finish.
Wonderful direction from Tati throughout. Great composition, great pacing, whether he’s setting up for comedy or narrative–though, really, it’s always both. Mostly excellent cinematography from Jacques Mercanton and Jacques Sauvageot. The day-for-night is somewhat lacking but the content makes up for it. Similarly, Marcel Morreau’s editing only has any hiccups when they’re trying to get goats and chickens to behave.
Jour de fête is superb. Sure, the last third has its problems, but they’re masterfully, sublimely executed problems.