Mon oncle

A superior sequel to 'Mr. Hulot's Holiday', it has a more solid story, funnier jokes and some things to say about the coldness of modern technology this time round. The humour does not rely on the dialogue, as there is hardly any, but it does not rely on physical humour either. Instead, the puns come from the way in which Tati sets up the shots. The mathematical precision of certain sequences, and the way that the actors are positioned within the frame, are what is amusing. The jokes are much more subtle, not hand-delivered, and therefore there should be more that can be picked up on multiple viewings. One of the funniest scenes gives a building two moving eyes, thanks to a clever set design and great lighting. The art direction is simply excellent, the music is wonderful, and the timing for every shot is just superb. Not everything is brilliant though. The continuity is a bit off at times, no thanks to some awkward jump cutting, and towards the end the jokes become a bit repetitive and tiresome. There is also little plot, but there is certainly a satisfactory amount of storyline, it being an original take on the fish-out-of-water plot line. The supporting characters are silly, but they actually benefit the film here. Characters such as the neighbour show just how out-of-touch some persons are in the technology crazed world. This film may not be for every taste, but I simply found it delightful stuff myself.

The word I would use to describe this film is "amusing", not "hilarious"; "amusant" rather than "rigolo". It gently charms a smile onto your face. Only rarely does it bring out an actual guffaw (when M. Hulot is faced with his sister's kitchen, for example). Tati refuses to impose his own ideas of what is important on the viewer, which is usually done by spending more screen time on them or zooming in. The title (usually considered to be important) is a scrawled piece of graffiti which stays on the screen for less than 1/2 second, but there are long sequences showing M. Hulot's apartment. The viewer has to work to see Hulot appearing (apparently randomly) in the various windows of the building as he walks through it. I love the window which is inexplicably at foot level in which you can see Hulot's feet turn to the wall as the feet of a woman dressed only in a slip appear.

In other words, this film is a stroll where, if you keep your eyes open, you will spot some amusing things going on. And France is a great place for a stroll.

Two more things. While the comparison to Chaplin is apt, I was led to think of later characters, particularly Hrundi Bakshi in Blake Edwards' The Party and another almost silent character, Rowan Atkinson's Mr. Bean. Indeed I'm sure Atkinson stole ideas from this film.

Also, I think it is misleading to focus too much attention on M. Hulot's struggles with modern tech. The title, Mon Oncle, should direct our attention to the nephew, for whom Hulot is a parole from the prison of his sterile house, enabling him to run with the kids, get dirty, buy doughnuts from a grubby vendor who applies the icing sugar with a bare hand and play practical jokes on passers-by (with Hulot ready to cover for him if need be). Fifty years later these comments are even more biting as we look at a whole generation of children raised in this kind of inhuman antiseptic environment: overweight, with eating disorders and allergies, socially inept with only a TV and a video game for a friend. Makes a dachshund in a red coat want to run with the mutts and tip over a garbage can or two, doesn't it?

Mon Oncle is a movie with a lot of subtle humor. You don't need subtitles as all speaks for itself. Also Monsieur Hulot only speaks when they ask for his name. It is an attack on modern times with the stupid superfluous technology that does not serve but make people crazy. Also the snobs are made ridiculous by their own technology and children, The film starts and ends with dogs. The dogs more or less are an example how man could be: free, having fun without the the obstacles of daily life they create themselves. The dogs are the winners. The children show us how adults easily can be fooled and also they always win.

In most of his movies there is only one typical french soundtrack that is constantly repeated, it enhances the suggestion of being in France and part of it. The sound is separately added to the movie and has the effect your hearing is far more sensitive. This also enhances the effect of being part of it.

The house with this special gravel garden is shocking modern considering the 50's the film was made. It is almost a piece of avant-garde art.

Take your time to watch it. This movie is art, not just another film that rolls out of a movie factory. Tati creates his own world that shows us who we are. Tati made his masterpiece but I can understand many people will not notice all the humor that passes.

Like in "Vacanses de Monsieur Hulot" and "Jour de Fete" there are so many subtle moments of humor, it is normal you will miss some.

It may be "The Party" with Peter Sellers was inspired by Mon Oncle as it has the same ingredients: the modern house with technology and the snobs that own it.

There is not anyone else who made films like Tati. In Europe Tati always was respected and admired for his work. Except for "Trafik" I have all films on DVD. All members of a family can watch these films.

Tati's Oscar-winning movie has often been criticized for being the most conventional of his films. I am sure this is true, but on the other hand, there is still enough Tati inside this film to recognize it as one of his. And a touch of storyline and continuity can never be detrimental for a film, not even for a Tati. Actually, this is the most satirical Tati I have seen and therefore, in my opinion, the best. A true masterpiece, unbelievably full of ceative ideas. And I do not understand, how the Academy could award Mon oncle as best foreign film and at the same time completely ignore the tremendous production design.

I only recently discovered the work of Jacques Tati. As a fan of the great movie comedians-auteurs (Chaplin, Keaton, Brooks, Allen), I wanted to see Tati's work. So far, I have only seen PLAYTIME, MR. HULOT'S HOLIDAY and finally, just recently, MON ONCLE. I can easily say MON ONCLE is not only the greatest comedy of Tati, but also one of the finest comedies ever made. It is truly hilarious. I found MR. HULOT'S HOLIDAY to be just a bit slow at times, where I might find myself losing interest for a moment. PLAYTIME was a bit too "mainstream" with many big special effects and so on. But MON ONCLE is simple yet hilarious. For 117 minutes, Tati keeps the viewer in his own world of comedy. The ultra-modern house gadgets were hilarious, making for some very funny sight gags. Tati's Mr. Hulot character belongs in a gallery of great comic film personas, along with Chaplin's Little Tramp, Keaton's Great Stone Face, Allen's neurotic New Yorker, and Brooks' Jewish characterizations. MON ONCLE is also beautifully photographed in color, which adds a lighter touch to the comedy. I've noticed that Tati's films are unlike those of anyone else. The style is all his own.