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Jour de Fête

Jour de Fête

Comedy · 1949

Jour de Fête tells the story of an inept and easily-distracted French mailman who frequently interrupts his duties to converse with the local inhabitants, as well as inspect the traveling fair that has come to his small community. Influenced by too much wine and a newsreel account of rapid transportation methods used by the United States postal system, he goes to hilarious lengths to speed the delivery of mail while aboard his bicycle.

Movie details

Jour de Fête

1949 Comedy 1h 26m

Critical arithmetic

One number, for now.

TMDB

7.1 / 10

Community rating

Jour de Fête tells the story of an inept and easily-distracted French mailman who frequently interrupts his duties to converse with the local inhabitants, as well as inspect the traveling fair that has come to his small community. Influenced by too much wine and a newsreel account of rapid transportation methods used by the United States postal system, he goes to hilarious lengths to speed the delivery of mail while aboard his bicycle.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Jour de Fête?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Jacques Tati

Written by

Jacques Tati · Henri Marquet · René Wheeler

Jacques Tati

Jacques Tati

François, the postman

Guy Decomble

Guy Decomble

Roger

Paul Frankeur

Paul Frankeur

Marcel

Santa Relli

Santa Relli

Roger's wife

M

Maine Vallée

Jeannette

R

Roger Rafal

Hairdresser

Jacques Beauvais

Jacques Beauvais

Cafe owner

Court is in session

Put Jour de Fête on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.