If you were going to buy one set of Tati's films the Studiocanal (SC) set is the way to go (more so if you can track down the Australian edition (same packaging) as it also includes the 2009 'Magnificent Tati' documentary). And if you're new to Tati that's what you'll do (if you're really new you'll buy one first - probably Mr Hulot's Holiday - and then go back and get the rest anyway). But let's face it, most of us reading these reviews are probably quite familiar with these films, at least some versions of them.
Which brings me to the point of this review. While the Studiocanal set's picture and audio quality is usually equal or better than the BFI prints (plus one curiosity that's both better and worse at the same time), they don't replace the BFI versions. Let me explain:
Jour de Fete - the BFI edition included the Thomsoncolor 1949 version (restored 1994) in HD. The SC edition has this in upscaled HD - the source is a SD master. This is the curiosity. Because Thomsoncolor was such a lousy system (all those vertical lines and washed out color), the upscaled version looks better than the true HD one on BFI. The inherent faults of the color process are less distracting. Weird, but true.
Then we come to the 1964 version. And this gets really strange. In the original version/s of 1949 (the color and BW versions aren't the same. Read on), an old woman essentially provides our point of view and verbal commentary on the action. In the `International' 1964 color-stencil cut (the BFI edition version) she has been largely replaced by a wandering young artist and a pretty awful voice over. The BFI copy of this was (for Bluray) fairly poor. The SC picture and audio is a great improvement (although the extra clarity makes the transitions from BW film to color stock (for the stencil color additions) much more obvious). But IT'S NOT THE SAME FILM! The SC 1964 version keeps the old woman and her point of view PLUS the young artist providing exactly the same role, although he doesn't turn up for some time (he's in it from the outset in the version from BFI). Having two narrators providing exactly the same purpose is both redundant and incoherent. And does terrible things to the pacing of the film. But that's just my opinion. More to the point, if you don't have the BFI edition you don't get the 1964 version that most people are familiar with.
On the other hand, and most importantly, SC does provide the original and longest (and probably best) cut - the 1949 BW version (arguable though as the `international' 1964 version probably flows better). The 1949 `hit' version if you will. Which, oddly enough, BFI didn't provide at all. Go figure.
Mr Hulot's Holiday - both BFI and SC provide two versions - the original 1953 cut, not seen for decades - and the final 1978 cut. The 1953 version is showing its age (lots of damage, scratches, poor audio etc) but is worth a look as there are substantial differences, with additional shots, small gags and sequences cut differently, much more dialogue (and different dialogue) as well as different music (same tune, totally different score). Oh, and the BFI print, although a little softer, is less damaged than the SC version. The 1978 cut is the restored version and, from both editions (they appear identical), it looks and sounds great. But there is also a 1962 version (at which time, among other things, the score changed), which from what I have read (and the documentary included in the SC edition seems to confirm), but never seen, is basically the 1978 version without the anachronistic and (to me) annoying and weak `Jaws' gag. I don't know about anyone else, but that is THE version I would like to see. We don't get it. From anyone.
But there's more. Tati's films often made use of multiple languages on the soundtrack - usually just enough to understand whatever needed to be understood. But this still changed depending on the market being aimed at. And, once again, BFI and SC differ. BFI provides both the original (original 1978) soundtrack and an `international soundtrack' option - one with more English dialogue. SC doesn't provide this. You may be sensing a pattern forming with SC being a little Eurocentric (and fair enough too) compared to BFI - but I haven't got to Mon Oncle yet.
One final, very pedantic note: the booklet with the BFI edition says the film was made in the summer of 1952. The SC documentary extra says 1951. At least they both agree it was released in 1953.
Mon Oncle - Here the differences are, thankfully, of a more minor nature. Both editions provide both Mon Oncle and the English version (My Uncle). Both look great. Even better, they're the same films, respectively, in each edition! The BFI edition undoubtedly has a bluer and more saturated color caste but this goes together with a richer and more dynamic contrast (deeper blacks etc), while the SC version is warmer in its hues, less saturated, but also has a slightly more detailed image. I'd say this really comes down to personal preference.
Oh, but I almost forgot - in this instance the BFI edition's menu offers English subtitles to Mon Oncle but they're not actually there. So if you don't speak French (and I don't) you're left with My Uncle. Which is a different film, although shot simultaneously. Nine minutes shorter, English dialogue (some) and, for what it's worth, some of the cast swap bowlers for berets! As for the missing English subtitles after Jour de Fete and Mr Hulot I'd have expected, if anyone was going to do something like this it would be the SC edition, but that's not the case. As the menu offers them but they aren't there I'd say it was an error in manufacturing/mastering of the disc.
Playtime - Once again BFI offers two soundtracks (French/international) where SC only provides one (BFI also includes a commentary that SC doesn't). The prints are different, like Mon Oncle the BFI print has a bluer color caste where the SC print is warmer. The BFI print also shows a little more damage (very slight) and more grain than the SC print. In fact the SC print lacks a little detail and is smoother throughout - which suggests digital cleanup. Personally, I prefer the BFI print for this one. BTW this is the 120 minute version; the original cut of this film isn't included - no one's seen it in years (although ABC Australia were screening a 150 minute version in the mid 1980s. I wonder where it went?).
Trafic and Parade - these two are at least easy - the SC set is the first time these have been available in HD bluray. So an easy decision. At least for the completist. There is a reason (or two or three) why neither of these have joined the ranks of their illustrious predecessors...
Still, I've always had a soft spot for Trafic - and the print is excellent, and while I have yet to warm to Parade this is by far the best I've ever seen it look.
Shorts - this is easy too. SC has them in the boxed set (unrestored). BFI's blu ray editions don't have them (although earlier DVD iterations had some).
Final point - SC has lots of extras - mainly po-faced documentaries (all subtitled) offering an `analysis' of each film. These are often interesting, often banal and obvious, sometimes irritating, occasionally daft and frequently pretentious. I enjoyed them! But you don't get the booklets that BFI provides in lieu (as their extras are somewhat limited).
So there you have it. Overall its no contest, the SC copies win (with the possible exception of Playtime). But they don't replace. And that's a pity. For all of us. And our wallets.
