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Play Time

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Playtime (sometimes written PlayTime or Play Time) is French director Jacques Tati's fourth major film, and generally considered to be his most daring film. It was shot from 1964 through 1967 and released in 1967. In Playtime, Tati again plays Monsieur Hulot, a character who had appeared in some of his earlier films, including Mon Oncle and Les Vacances de Monsieur Hulot. As mentioned on the making of documentary that accompanies the Criterion Collections DVD of the film, by 1964 Tati had grown ambivalent towards playing Hulot as a recurring central role. Unable to dispense with the popular character altogether, Hulot appears intermittently in Playtime, alternating between central and supporting roles. Shot in 70 mm, Playtime is notable for its enormous set, which Tati had built specially Play Time is a Hot Pursuit event featured in Need for Speed: Rivals, and is unlocked at rank 11 in the racer career. It has a Medium difficulty rating. Play Time is the seventh episode of the thirteenth season.

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Play Time is a Hot Pursuit event featured in Need for Speed: Rivals, and is unlocked at rank 11 in the racer career. It has a Medium difficulty rating. Play Time is the seventh episode of the thirteenth season. Playtime (sometimes written PlayTime or Play Time) is French director Jacques Tati's fourth major film, and generally considered to be his most daring film. It was shot from 1964 through 1967 and released in 1967. In Playtime, Tati again plays Monsieur Hulot, a character who had appeared in some of his earlier films, including Mon Oncle and Les Vacances de Monsieur Hulot. As mentioned on the making of documentary that accompanies the Criterion Collections DVD of the film, by 1964 Tati had grown ambivalent towards playing Hulot as a recurring central role. Unable to dispense with the popular character altogether, Hulot appears intermittently in Playtime, alternating between central and supporting roles. Shot in 70 mm, Playtime is notable for its enormous set, which Tati had built specially for the film, as well as Tati's trademark use of subtle, yet complex visual comedy supported by creative sound effects; dialogue is frequently reduced to the level of background noise.