The Arpels live in a world filled with ultra modern appliances that are all too clever to be of any real use. However, Madame Arpel's brother, Monsieur Hulot, lives in a world where a water feature and a laser-controlled garage door have no place. Hulot's world consists of horse-drawn wagons, corner stalls, and broken-down walls. When these two worlds collide, things tend to get broken. In addition, Hulot is considered to be a complete nuisance by his brother-in-law, Monsieur Arpel. Despite this, Hulot persists to enter his sister's domain, if only to marvel at an unbreakable coffeepot or to show his nephew the wondrous universe beyond his parents' electric gate.
Mon Oncle is a remarkable example of cinema and well deserved its Oscar for best foreign language film in 1959. Even though there is not much language in this movie, the little dialogue that is here is quite clipped and inconsequential. But this does not matter, as the true genius of Mon Oncle is in its visuality. There is a rich use of colour in this film, as each scene is put together beautifully. Be it the minimalist visions enhanced by the odd flash of vibrant colour within the Arpel's technologically advanced "Maison," or the autumn colours that gloriously clutter the landscape surrounding Monsieur Hulot's home, the visuals are exquisite. Mon Oncle is very much a visual masterpiece. Yet, that is not all it has to offer, as most of the jokes use not language, but sound, to heighten the impact of the comedy. Never before or since has the loud "clickety-click" of high heels or the gong of someone inadvertently walking into a lamppost been enough to make you howl with laughter! Hulot is the creation of the movie's director and star, Jacques Tati, and Mon Oncle is not his only adventure. Each of his other films depicts a similar style. And, with this character, Tati reignites and modernises a genre of comedy that would have probably died away with the talkies.
Tati brings Hulot alive, through his attention to detail in his direction and in the delightfulness of his performance. This is a film that will enchant its audience. And, fans of Buster Keaton and Charlie Chaplin should revere Jaques Tati, as the greatest, "almost," silent comedian.
Mon Oncle is a remarkable example of cinema and well deserved its Oscar for best foreign language film in 1959. Even though there is not much language in this movie, the little dialogue that is here is quite clipped and inconsequential. But this does not matter, as the true genius of Mon Oncle is in its visuality. There is a rich use of colour in this film, as each scene is put together beautifully. Be it the minimalist visions enhanced by the odd flash of vibrant colour within the Arpel's technologically advanced "Maison," or the autumn colours that gloriously clutter the landscape surrounding Monsieur Hulot's home, the visuals are exquisite. Mon Oncle is very much a visual masterpiece. Yet, that is not all it has to offer, as most of the jokes use not language, but sound, to heighten the impact of the comedy. Never before or since has the loud "clickety-click" of high heels or the gong of someone inadvertently walking into a lamppost been enough to make you howl with laughter! Hulot is the creation of the movie's director and star, Jacques Tati, and Mon Oncle is not his only adventure. Each of his other films depicts a similar style. And, with this character, Tati reignites and modernises a genre of comedy that would have probably died away with the talkies.
Tati brings Hulot alive, through his attention to detail in his direction and in the delightfulness of his performance. This is a film that will enchant its audience. And, fans of Buster Keaton and Charlie Chaplin should revere Jaques Tati, as the greatest, "almost," silent comedian.