This is a slow comedy - the best way to enjoy it is to invite some friends over, put some nice wine or beer plus something to eat on the table and let the "story" unfold on a big screen (Tati's compositions are worth the big screen, even if the film stock is of low quality). Some of the scenes resemble car ballets! "Trafic" satirizes man and his obsession with fetish #1, the car, but it does so in a very nice way, not condemning or condescending, more like a nature documentary showing the behaviour of some strange species. The comedy is very close to Buster Keaton's, at its center technological gadgets, slapstick and social interactions slipping into the absurd. My favourite scene might be the one where some mechanics are repairing the car while watching a live broadcast from the moon (yep, the movie is that old) and begin imitating the low-gravity motions of the astronauts. It's rarely laugh-out loud but it's always inducing smiles! Highly recommended if your attention span is up to it.

Unlike the previous reviewer, I have to say that the French made many great comedies. But just as there are many styles in US cinema, so are there many styles in other countries. "Trafic" is a wonderful stab at modern life and our infatuation with cars that is more up to date than ever, with traffic jams at an all time high.In passing, or rather sitting, through the summery vacation road chaos this Tati movie slaps everything from drivers' behaviors and quirks that are border less, to general human characteristics, and even matters of national pride.I disagree with the inability of the French to laugh at themselves - but one needs to realize that the humor involved is very deep and tongue in cheek, but is just about even more stinging because it is not so superficial.What makes this movie, just like the other Tati movies so remarkable, is that one does not need to speak or understand French and can still watch it in its original sound track, because the camera does all the work. "Shtick" with brains, a piece of visual art that might hang in a modern art gallery, were it not a movie, self contained, intelligent, funny. It is a neat feature about most Tati films.I remember being in stitches when I last saw it, and that was after seeing it several times already. Other great French comedies would be the original versions of"The Tall Blonde With The Red (Black) Shoe", ie "Le Grand blond avec une chaussure noire"(note that the original odd shoe was black, not red),"Birdcage", ie "La Cage Aux Folles", the German title of which was much closer to the actual "A Cage Of Fools" .... oh heck, just look up movies with Pierre Richard, Jean Rochefort, the unknown to Americans (because he would have put Hollywwod to such shame to kill their business in comedy) all time unforgettable Louis De Funes, Fernandel, Mireille Darc, Yves Montand, Jean Paul Belmondo (one of his movies is an obvious blueprint for Indiana Jones), .... these are all true actors that are also capable of character studies and can deliver such a punch that it flies right over many people's heads .... maybe the previous reviewer is right ... the French have no comedy ... not of the shallow sitcom style in any case. If you can laugh with your whole heart, head , and soul though, then start digging and you will find much of the best ever made.

Tati's final theatrical film, which is often considered his greatest failure, is in actuality nearly as good as his masterpieces. In this film, Tati stars for the fourth and final time as M. Hulot. This time he has a job as an automobile designer, and it is his job to get his company's new Camping Car to Amsterdam for a big auto show. Accompanying him is a driver, François, and a public relations worker, Maria (played marvelously by Maria Kimberly, who reminds us of the great lead actress roles played by Nathalie Pascaud and Barbara Denneck in M. Hulot's Holiday and Playtime respectively). Maria drives around in a little yellow convertible with her little fur-ball dog. Its fast and maneuverable. It can go pretty much anywhere it wants. Unfortunately, François and M. Hulot are driving a large truck. They often get into trouble when they're trying to follow Maria's car. Every problem that can happen does. Many observations are made about how people act when they're in their cars on the highway (it's a non-stop traffic jam from Paris to Amsterdam). The jokes in Traffic are always hilarious. The first fifteen or twenty minutes are somewhat dry of them, which is mainly why I don't rank this one up there with M. Hulot's Holiday, Mon Oncle, and Playtime (it's about even with Jour de fête). But when it gets going, it never stops. And it's beautiful, too, just as all of his other films. The final sequence is sublime, and the final shot will stay with me forever. 9/10.

With Traffic coming out I started thinking about one of the earliest films I remember from my childhood. Trafic must have a very significant impression on me as I vividly recall the frustration rendered by it. Sitting there as a child almost jumping out of the chair in plain irritation of the quirks of Tati.