| Mon Oncle |
Mon Oncle poster |
| Directed by |
Jacques Tati |
| Produced by |
Jacques Tati |
| Written by |
Jacques Lagrange
Jean L'Hôte
Jacques Tati |
| Starring |
Jacques Tati
Jean-Pierre Zola
Adrienne Servantie
Alain Bécourt |
| Music by |
Franck Barcellini
Alain Romans
Norbert Glanzberg (uncredited) |
| Cinematography |
Jean Bourgoin |
| Editing by |
Suzanne Baron |
| Distributed by |
Gaumont |
| Release date(s) |
10 May 1958 (France)
3 November (US) |
| Running time |
110 minutes |
| Country |
France |
| Language |
French |
| Budget |
FRF 250,000 (est.) |
| Preceded by |
Mr. Hulot's Holiday |
| Followed by |
Playtime |
| IMDb profile |
Monsieur Hulot (actual film is in colour)
Mon Oncle ("My Uncle") is a 1958 comedic film by French filmmaker Jacques Tati. It won the Academy Award for Best Foreign Language Film, a Special Prize at Cannes, as well as the prestigious New York Film Critics Award, receiving more honors than any of Tati's other films.
The film centers on the dimwitted yet lovable character of Monsieur Hulot and his quixotic struggle with postwar France's infatuation with modern architecture, mechanical efficiency and American-style consumerism. As with most Tati films, Mon Oncle is largely a visual comedy; color and lighting are employed to help tell the story. The dialogue in Mon Oncle is barely audible, and largely subordinated to the role of a sound effect. Consequently, most of the conversations are not subtitled. Instead, the drifting noises of heated arguments and idle banter complement other sounds and the physical movements of the characters, intensifying comedic effect. The complex soundtrack also uses music to characterize environments, including a lively musical theme that represents Hulot's world of comical inefficiency and freedom.
Synopsis
M. Hulot is the dreamy, impractical, and adored uncle of young Gérard (nine years old), who lives with his materialistic parents in an ultra-modern geometric house and garden (Villa Arpel) in a new suburb of Paris, situated just beyond the crumbling stone buildings of the old neighborhoods of the city. Gérard's parents, M. and Mme. Arpel, are firmly entrenched in a machine-like existence of work, fixed gender roles, and the acquisition of status through possessions and conspicuous display. (A running gag involves a fish-shaped fountain at the center of the Arpels' garden that Mme. Arpel turns on only for important visitors). Each element of Villa Arpel is representational rather than functional, an environment completely hostile to the comfort of its occupants. From pas japonais positioned like mine fields, to impossible-to-sit-on furniture, to a kitchen with the decibel level of a jet engine, every facet of Villa Arpel emphasizes the supremacy of superficial aesthetics and electrical gadgets over the reality of daily living. Despite the facial beauty of its modern design (the set was so admired by one film fan that a real-life version of the house was constructed near Paris),citation needed, the Arpels' home is entirely impersonal, as are the Arpels themselves. In fact, M. and Mme. Arpel have completely subordinated their individuality to maintain their social position and their shiny new possessions. Tati emphasizes his themes surrounding the Arpel lifestyle (as well as M. Arpel's automatonic workplace, Plastac) with monochromatic shades and cloudy days; vivid colors and bright light coincide only with the arrival of visitors, particularly Uncle Hulot.
In contrast, Uncle Hulot lives in a small old corner of the city. He is unemployed, and gets around town either on foot or on a rather tired moto-bicyclette. Though he is obviously without possessions, he does not seem to notice; color, light, and frivolity inhabit Hulot's world. Young Gérard, utterly bored by the sterility and monotony of his life with his parents, fastens himself to Uncle Hulot at every opportunity. Uncle Hulot, little more than a child himself at times, is completely at home with Gérard, but also completely ineffectual at controlling his horseplay with his school friends, who take delight in tormenting adults with practical jokes. Exasperated at their uncle's perceived immaturity, the Arpels soon scheme to saddle him with the twin yokes of family and business responsibilities.
Film Notes
- An English version of the film, released as My Uncle, was filmed at the same time as the French-language version. In the English-language release, French signs are replaced by ones in English; important dialogue is dubbed in English, while background voices remain in French.
- Villa Arpel and other sets used in Mon Oncle were designed by Jacques Lagrange, who helped Tati create forms that reflected modern times. Jacques Lagrange was Tati's regular set designer from 1953 until the latter's death in 1982.
Cast
Mon Oncle in the Media
- From 19 February to 2 May 2004, the Architectural Museum of Munich held an exhibition The City of Monsieur Hulot in 2 rooms, one of which held a small cinema where Tati's films were played. Some of the exhibits included Tati's original drawings for his sets, posters, a scale model of Villa Arpel (the cold modernistic house in Mon Oncle), Tati-designed furniture, and several videos.
See also
External links
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