Jacques Tati: The director who made David Lynch fall in love with humanity
David Lynch, the mastermind behind such avant-garde cinematic masterpieces as Eraserhead, Mulholland Drive, and the haunting TV series Twin Peaks, has always been lauded for his unique ability to delve deep into the human psyche. With his surreal narratives, enigmatic characters, and ethereal and purposeful soundscapes often designed by the director himself, Lynch has the rare talent of weaving a tapestry of dreams, nightmares, and the perplexing intricacies of human nature.
His works often blur the lines between reality and fantasy, asking the viewer to engage, ponder, and often be lost in the abyss of his storytelling. However, while the director’s affection for the surreal is evident, one might wonder where his fascination and deep understanding of humanity stem from.
The answer, somewhat surprisingly, doesn’t come from another proponent of the avant-garde or the surreal. Instead, it lies in the comedic realms of French cinema. In Chris Rodley’s book, Lynch on Lynch, and Lynch’s own Catching the Big Fish, the American director reveals a deep admiration for a particular filmmaker who, through the lens of comedy, showcased an immense understanding and love for human nature.
Enter Jacques Tati, the French filmmaker behind films such as 1953’s Mr Hulot’s Holiday – and one whom Lynch has gone on record calling a genius. Tati’s cinema, markedly different from his in terms of tone and approach, is nonetheless a masterclass in understanding and presenting the quirks, eccentricities, and endearing aspects of humanity. Tati’s films are less about epic sagas and more about a series of vignettes that capture the mundane, the everyday, and the often-overlooked moments that define human existence. With a comedic touch and an astute observer’s eye, Tati painted a picture of society that was both humorous and deeply affectionate.
In Mr Hulot’s Holiday, Tati’s titular character, Mr Hulot, embarks on a vacation that becomes a brilliant exploration of societal norms, human interactions, and the comedic misadventures that ensue from Hulot’s innocent blunders. The film isn’t just a comedy; it’s a statement on the human condition, made with love and a touch of whimsy. Lynch’s admiration for Tati’s “amazing point of view” and his love for human nature speaks to the universal appeal of Tati’s craft.
For an artist like Lynch, who often immerses himself in the darker, more enigmatic facets of human nature, Tati’s works serve as a counterpoint – a gentle reminder of the light, laughter, and love that humanity is capable of. It’s a testament to the vast spectrum of human emotions and the varied inspirations a filmmaker can draw upon.
While Lynch and Tati may seem worlds apart in their cinematic expression, their shared love for humanity bridges the gap, with Tati igniting one of the most essential passions anyone can nurture. “When you watch his films, you realise how much he knew about – and loved – human nature,” says Lynch, “And it can only be an inspiration to do the same.”
