★1953 法國影評人路易德呂克獎最佳影片
★1953 坎城國際影展正式競賽片
★1956 入圍奧斯卡獎最佳劇本項目

大家都知道假期不是為了尋找樂趣，除了Hulot先生。開著他的老爺車，Hulot先生來到不列塔尼的海邊度假村。才一踏進附近旅客最常住宿的海灘旅館大門，他造成的災難就一個接著一個到來。他是一個溫和善良的人，但他笨拙的舉止經常引發無心之過和意外狀況，沒事就摔跤、掉到水裡，行李提一提卻衝出門外…。他也即興參與各項戶外運動，卻一再引來混亂和騷動。Hulot先生開著冒煙的老爺車在海邊四處晃蕩，讓那些只想安靜度假的旅客不得安寧，還捲進一連串的災難當中，只有一個英國婦女接受他的幽默…。

本片是大地飾演的Hulot先生系列的首部作品，他結合Buster Keaton式的嘲諷、無厘頭的胡鬧和模擬人物的喜劇手法，並以一連串精準巧妙的編舞方式設計的橋段，讓動物、小船、煙火…等原本不會表演的事物發揮讓人讚嘆的笑果。大地刻劃出海灘上短暫拋開世俗煩惱的度假眾生相：城裡來的旅客帶著一堆度假裝備，好像要進行特技表演的雜耍人員一樣；穿涼鞋的小孩、冰淇淋小販、無聊的年輕人、作夢的女人和疲倦的男人…，而常常狀況外的Hulot先生置身其中有如一位放逐的局外人，所到之處總是造成衝擊與波動。

大地對我們容易忽視的小事特別感興趣，如遠處背景房子推開的一扇窗、一片青草葉子、一隻飛翔的風箏、孩子們或是一個小老頭，在他的眼中都可能充滿趣味和驚奇。比如在本片中，Hulot先生對海灘每一座細沙堆成的城堡驚歎不已，不知裡頭其實埋藏了睡美人；他意外造成的小型國慶日的煙火秀也讓大家驚喜連連。

Everyone knows that holidays are not meant to be fun. Everyone that is apart from Monsieur Hulot, who, with his pipe sticking up in the air and his scarecrow-like frame, takes life as it comes, disrupting the peace and quiet of holiday-makers from the city who have settled into this small seaside resort on the Atlantic coast for the summer with the outrageous way he drives around in his backfiring Salmson jalopy. He wanders around the bored resort, marvelling at each and every sandcastle. Then suddenly boredom dissolves into laughter, the sandcastles open to reveal Sleeping Beauty and the small beach crackles and shines like fireworks on the 14th of July as the children shout out in wonder…

★1959 坎城影展評審團特別獎
★1959 奧斯卡最佳外語片

Hulot先生住在一個熱鬧、充滿活力的老社區的樓房公寓，他偶而會去拜訪他的姊姊。姊姊嫁給一個富有的塑膠管製造商Arpel，他們住在一個配備最先進電子設備的摩登住宅，有自動化廚具、庭院中的自動魚形噴池…，這些成了害Hulot先生跌跌撞撞的陷阱。Hulot狀況百出，讓姊姊很頭痛，他並非惡意，只是欠缺融入充斥新奇發明的現代生活的能力。片中惡作劇的小孩和四處遊蕩翻找垃圾桶的流浪狗，都是Hulot先生疼愛包容的寶貝。他高大又笨拙的身形舉止，加上溫和善良的個性，使他深受孩童和小動物的歡迎。姊姊的兒子Gérard非常喜歡這個奇特的舅舅，經常和他玩在一起。但Gérard的父親認為Hulot先生對兒子不是一個好榜樣，試著讓兒子離他遠一點。他為Hulot先生在工廠找工作，但Hulot先生經常把工作搞砸。姊姊於是想到要促成Hulot先生與她的鄰居的婚事，但仍然是失敗收場。最後，Hulot終於被說服，在Arpel父子的送行中，離開他習慣的家鄉，而父子兩人也終於首度因為一個玩笑，而相視開懷地笑擁在一起。

大地的電影向來關注人類生活逐漸現代化的轉變。透過新舊生活方式對比的手法─現代公寓和工廠等空間整齊劃一、充斥標示和符號，灰藍色調和機械運轉的聲音，對比老社區熱絡喧鬧，人情味十足，蔬果攤上繽紛活潑的色調，大地相當敏銳且巧妙地傳達出他對現代生活的觀察與批判。

Monsieur and Madame Arpel have a remarkably functional detached house in a very (perhaps too) well appointed neighbourhood. Unfortunately, Madame also has a brother, Monsieur Hulot, who – no less remarkably – prevents her from functioning. There’s no malice involved, just an application that betrays his incurable lack of adaptation to life in an age that is blessed with so many wondrous gadgets. Hulot also harbours a boundless love of dogs, preferably stray ones, and of buildings that actually look like houses. None of this would be any cause for concern if it weren’t for the fact that the Arpels’ son Gerard likes to imitate his uncle and, like his uncle, displays an obvious distaste for the beauties of the industrial world. At the last possible moment, Monsieur Arpel, feeling slightly jealous and having failed in his attempts to employ him in his factory and to marry him off to their snob of a neighbour, finally manages to get rid of Hulot. But the damage is done: for the first time in his life, he has smiled at his son, for no particular reason…

★1969 Bodil 最佳歐洲電影獎

《遊戲時間》是賈克‧大地的第四部電影，也是賈克‧大地作品中極受好評同時也最昂貴的作品。片中賈克‧大地再度扮演曾以《我的舅舅》、《于洛先生的假期》而大受歡迎的角色于洛先生。電影藉由于洛先生和一個美國觀光客芭芭拉在未來巴黎的相遇以及兩人的巴黎之旅交錯敘述而成，一共分為〈機場〉、〈辦公室〉、〈世貿展覽〉、〈公寓〉、〈皇家公園〉和〈旋轉的車陣〉六個段落。

線條簡單的鋼鐵架構和大量玻璃的使用，反映出未來巴黎處處嶄新的建築，讓城市生活顯得規律、簡潔與冷酷，表達大地對現代化生活的觀察。只有導演飾演的于洛先生，代表的是他所懷念與喜愛的舊巴黎生活，強烈的對比，和有點突兀、不知所措的喜感。也代表了大地對於新科技所帶來的新生活和人類互動的觀點。

《遊戲時間》從64年開拍，直到67年才完成，電影中最有名的即是片中出現許多未來城的場景，都是導演賈克‧大地堅持搭景出來的，耗時費力，甚至讓他舉債才完成這部電影。電影運用大量的偏灰、藍、黑等冷色系，看起來如同黑白電影，同時也在聲音上做了許多設計，來表達未來生活機械化感。楚浮給予本片極高評價，他說「《遊戲時間》彷彿是從另一個星球來的電影，它讓電影從此不一樣。」。

早在40年前，賈克‧大地就已經以一個「未來世界」精準地描繪出「全球化」所將面臨的種種問題。近年來學者喜歡以「編舞家」來形容他，身體的移動、移動的目的與慾望、與人對身體的駕馭能力，全是主導他影片敘述的主軸。假如你已看過《遊戲時間》，一定知道這不是一部「看過就算擁有」的影片，而是一部值得一看再看，一部只有觀看時才讓我們自己覺得存在的影片。假如你還沒看過，那你需要事先知道的只是：這是一部幽默詼諧到令人笑出眼淚的影片。
“It is the age of “Economic Airlines” and some Americans are on a guided tour that includes visiting one capital city per day. When they land in Paris, they realise that the airport is exactly the same one they have just left in Rome, that the roads are identical to those in Hamburg and that the lamp posts are strangely reminscent of those in New York. So similar that the set actually hasn’t changed at all from one city to the next. This international decor they move through really exists - I didn’t make it up. Gradually they meet some French people. A little human warmth begins to develop, and, while they may not actually be in Paris, they are at least spending 24 hours with real Parisians, one of whom is Monsieur Hulot.” (Jacques Tati)

巴黎的汽車製造商Altra希望以他們的秘密武器在阿姆斯特丹汽車展造成轟動，一輛可以變裝成移動住宅的萬能露營車，裡頭充滿數不清的便利設計點子。汽車繪圖設計師Hulot先生用貨車載著露營車的原型前往展場，準備在公司攤位展示，同行的還有開著黃色小跑車的年輕活潑公關小姐Maria。前往展場的過程一波三折，先是汽油不夠，又碰到荷蘭海關人員繁瑣的檢查程序刁難。到達展場時已經來不及參加展示。雖然露營原型車在停車場引起眾人圍觀，大受歡迎，Hulot先生卻遭到解雇。幸運的結局是，他挽著美麗的Maria步出展場，愉快地穿過陷入瘋狂交通阻塞的重重車陣！

大地曾於受訪時提到：「我認為瑕疵很重要，是整體藝術創作自由的一部分」。即使他的後期電影票房成績不如以往成功，加上媒體記者和影評的冷漠回應，大地依然展現藝術家的堅持，為欣賞他的觀眾（不論多寡）搬演這部精采的「意識形態的公路電影」。《車車車》再次證明大地這位喜劇天才對時間點以及滑稽視覺笑果純熟的掌握。比起大地的其他電影，本片充滿更多小巧迷人的驚喜，他精心設計、耐心鋪陳趣味橋段所需「醞釀發酵」的時間，比如Hulot先生提著空的汽油桶沿著公路走了好一會兒，發現公路另一頭也有人提著汽油桶反向走來，才猛然了解原來加油站在另一頭…。Hulot先生置身這個一昧荒謬地追求進步，終致科技失控的現代社會，只能以異於他人的幽默和奇想找到生存之道。

片中對聲音的處理也值得注意，自從大地領悟到影片的對話應該被視為「眾多雜音中的一環」，他開始重視日常生活中聲音的種種樣貌，只要是真實又出人意表的，都可能讓觀眾發笑。《車車車》從片頭一開始就以擁塞公路上匍匐行進的車陣造成的大量噪音，點出大地對現代社會「瘋車現象」的敏銳觀察。大地這次完全捨棄他常運用來經營情緒的背景配樂，而代以人聲、公路噪音、汽車展場的廣播、人潮等環境音，讓本片帶有濃厚的寫實風格。

A draughtsman for the small car manufacturing firm Altra, Monsieur Hulot designs a camping car that is cleverly fitted out with countless gadgets; it is to be shown at the Amsterdam International Automobile Show. He travels with the prototype from Paris on board an Altra lorry, escorted by a small yellow sports car belonging to Maria, the young American woman in charge of public relations. Their progress is repeatedly held up, first by a punctured tyre, then by a pile-up and run-ins with customs officials. They drive around Flemish and Dutch country roads in search of a mechanic. The car arrives too late to be exhibited. Despite the prototype’s huge success with the onlookers in the car park, Monsieur Hulot gets the sack, but he walks out of the exhibition hall with the beautiful Maria on his arm, through all the stationary cars caught up in a huge traffic jam.

故事的背景是一個慶典式的馬戲表演，其中賈克．大地安排觀眾、藝術家、小丑、小孩和他自己見面。片中的表演活動將這些大人和小孩串連在一起。從一開始，一個小男生和一個小女生象徵著能夠在一起的快樂。觀眾直接參與了音樂表演與雜耍。賈克．大地自己扮演Loyal先生，主導整個表演活動，確保每個表演節目之間轉場流暢，觀眾與演出之間互動良好。大地也親自在片中重現他當年還是音樂廳喜劇明星時常演出的「運動印象集錦」，包括釣魚、騎馬、老式網球 v.s.現代網球…等。還有鼓號樂隊做特技表演、誰能駕馭任性的小驢子…等讓人捧腹大笑的安排，都讓氣氛high到最高點，展現大地爐火純青的秀場主持功力。

雖然本片是以當時逐漸盛行的錄像攝影機拍攝，並且是由瑞士電視台贊助經費，這部難得一見的大地最後一部作品其實是為了電影放映而拍攝的，是大地向法國傳統表演藝術致敬的表達。美國知名影評人Jonathan Rosenbaum犀利地點出本片的精髓：「看似謹慎節制，實則極富實驗性」。也有影評人形容本片是「電子人工地景上，一道閃閃發亮的彩色小徑」，深受法國觀眾喜愛的大地以神奇的彩筆大展身手，再次為全場老少帶來不絕的歡笑，以《遊行》為他的創作與演藝生涯畫上令人難忘的句點。片名《Parade》指的是馬戲表演前，演員在場地附近遊街表演，用來招攬觀眾注意的慶典式雜耍，那是所有視覺與聽覺喧嘩的開端，卻意外地成為賈克．大地演藝世界的終點。

Despite being mainly shot in video (Tati had anticipated the gradual switch to digital) and financed by Swedish television, Parade was nevertheless made to be screened in cinemas, even though this film, which was to be his last, is essentially a tribute to the performing arts. In his portrayal of a Monsieur Loyal who ensures that there is a smooth change-over between circus acts, Tati revives the “sporting impressions” he used to perform at the music hall.

鄉間青年羅傑夢想成為拳擊手，正巧拳擊訓練場就在他家農場隔壁。拳擊賽進行到一半卻得停擺，因為拳擊手接連被打倒。羅傑拋下農事不做，自個兒在一旁偷偷模擬拳賽獲勝的情景，剛巧被拳擊教練看到，就被抓上擂台充數。拳賽開始進行，但有個問題，羅傑沒有拳擊經驗，對這項「高貴」的藝術也毫無頭緒。郵差先生留在椅子上的教戰守策能幫助他快速獲取致勝技巧嗎？年輕的賈克大地飾演傻大個羅傑，渾身上下充滿默片誇張的肢體韻律與奇特的喜感，加上其他老少演員精彩的演出，就算無對話也會讓人捧腹連連。本片是以《禁忌遊戲》著名的法國導演 René Clément 的首部喜劇短片，片名來自拳擊術語，非常欣賞大地的高達甚至拍過一部叫做《注意你的右方》的喜劇電影（台灣另譯為《神遊天地》，1987），向大地無人能出其右的喜劇才華致敬。

Roger, farmer, dreams of becoming a boxer and in fact, box training takes place just in the yard of his farm. But the fights had to stop in need of fighters. While he was miming a win, he is spotted and turned on the ring. But one thing is still missing: he has no experience of boxing and doesn’t know anything about this noble art. Will the book that the postman left on the chair help him to acquire in a hurry the techniques needed for his triumph ?

速度與效率是優秀郵差的首要法則，目標很簡單：縮短每一趟郵件運送服務的時間。在一所鄉間的小郵局，包括 François（由大地飾演）在內的三位郵差，每天在上司頤指氣使的鞭策之下進行郵遞任務前的操練儀式：在辦公室猛練腳踏車速度，背誦加快郵遞流程的口令…。剛開始上路的效率似乎不錯，但是當 François 送信到酒吧，看到人人手捧酒杯，相擁起舞，什麼效率都拋到腦後去了…。這部短片是《節日》的前身，可以看到長片版中許多橋段的靈感來源，觀眾不妨加以比較。

Speed and efficiency, that’s what a good postman has to be taught! The mission is simple: reduce the duration of the round that is needed to get in time to the airmail service. In a small post office in the country side, three postmen, including Francois, urged by the nasal injunctions of their superior, broke up again and again, bicycle in hand, each and every ritual movement necessary to the mail delivery…

在《遊戲時間》的拍攝場景裡，大地飾演的夜間課程老師嘗試將他觀察人物百態的藝術訣竅傳授給一批笨拙而熱忱的成年學生。課堂上，原本經驗老道馳騁商場，西裝畢挺的生意人變成專注聽課的學童，在大地的開導下發掘各種抽菸、打網球、釣魚、騎馬、上樓梯摔倒…等無奇不有的方法，還認真討論鞋子尺寸和撞牆機率的關係。在這個短片中，幾個大地的招牌動作首次在大銀幕亮相，看起來有如和《遊戲時間》經典冒險橋段相對照的版本，片尾充滿機智的詼諧更是讓觀者會心一笑，說明大地的幽默感與敏銳的觀察力用在自己身上也同樣犀利。本片導演恰是《遊戲時間》的助導。

On the scenary of PlayTime, Jacques Tati tries to pass on some rudiments of his art to students full of clumsiness and zeal. “Businessmen are turned into careful schoolboys and discover the different ways of smoking cigarettes, riding a horse, or falling down the stairs. […] Cours Du Soir (Evening class) shows for the first time on screen several classic acts from Tati and are, due to their very modesty, quite a relevant comment on the epic adventure of PlayTime. It appears to be its reversed image. Revealing the other side of its scenery and of its main character, Tati proves to be able to apply his sense of observation to himself as well." (Marc Dondey)