Note: We recommend Parade for the family. Jacques Tati began his career in the music hall, at which time he created the pantomimes that were to remain in his repertory throughout his life and films. Tati returned to the spirit of the music hall in Parade. Here he created his own version of the mediated documentary, videotaping a circus (the acts, it seems, selected by him) for Swedish television, all the while orchestrating encounters between spectators, artists, and himself in the guise of a certain M. Loyal. “Between the acts” Tati/Loyal performs some of his great mime routines (tennis of today and yesteryear, football, the horse and rider, etc.), while among the “audience” hilarious bits of Tati-business go on (e.g. the spectator who asks the woman in front of her to kindly remove her helmet, only to find it was holding in an unstoppable hairdo). But of course there is no “between the acts” and no “audience” separable from the “show” itself. In a perceptive analysis of Parade in Velvet Light Trap No.22, Kristin Thompson shows how “Tati seized upon the chance to continue his earlier films' work upon the spectator's relation to the comic action...Tati presents his audience with perceptual difficulties and odd comic moments which will defamiliarize the real world as well as the filmed events, making it seem comic...In Parade, Tati takes this approach one step further...(The) interaction of audience and performers is the main point of the film. Here Tati represents, literally, his ideal circus audience, and figuratively his ideal cinema audience...” This delightful, unjustly neglected film was never released and some existing prints are cut. Our print, the most complete, includes the final sequence, in which the kids take over-a fitting paean to the child-savant in Tati, in this, his last film.