I think the point of the progression of the Hulot movies is that he is more enveloped by the world around him as things go on, less involved and less in control as modernity wipes out his era. To that end, I liked that Trafic not only showed Hulot making a conscious effort to adapt and thrive in that world on his own terms (designing the car) but also had him escaping the now unfamiliar Paris and bringing him to more provincial areas on the way to Amsterdam. I don't think he "flopp"ed around at all, at least any more than usual in his interactions with the world around him. On the contrary, he enjoyed more success in Trafic than ever before in his new environment. Usually daunting small tasks and interactions proved easier accomplished and negotiated as the world around him is now more his speed. Ultimately, his design is a hit and he even seems to get the girl (very much his feminine analog throughout the film) as the modern world and the human traffic coming out of the subway literally reject him at the end. Which is a great victory given how optimistically oppressive Playtime was to him. I thought it a fitting end to the Hulot cycle and a magnificent, beautifully composed film.
And while not as charming as M. Hulot's Holiday, Tati's filmmaking on Trafic is at a much higher level than before, second only to his astounding achievement on Playtime. I rate this one slightly higher than Mon Oncle, and that's high praise as all the Hulot movies are amazing works of perfection.
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