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Mon Oncle (1958)

Mon oncle (original title)
Not Rated | | Comedy | 3 November 1958 (USA)
Monsieur Hulot visits the technology-driven world of his sister, brother-in-law, and nephew, but he can't quite fit into the surroundings.

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Writers:

(artistic collaboration), (artistic collaboration) (as Jean L'Hote) | 1 more credit »
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Cast

Complete credited cast:
...
...
Lucien Frégis ...
Monsieur Pichard (as Lucien Fregis)
Betty Schneider ...
Betty, Landlord's Daughter
Jean-François Martial ...
Walter (as J.F. Martial)
...
Yvonne Arnaud ...
Georgette, the Housekeeper
Adelaide Danieli ...
Madame Pichard
Alain Bécourt ...
Gerard Arpel (as Alain Becourt)
Régis Fontenay ...
Braces Dealer (as Regis Fontenay)
Claude Badolle ...
Flea Market Dealer
Max Martel ...
Drunken Man
Nicolas Bataille ...
Working Man
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Storyline

Monsieur Hulot's brother-in-law is the manager of a factory where plastics are manufactured. His nephew grows up in a house where everything is fully automated and the boy is raised in a similar fashion. To take away the influence of the uncle on his son, his brother-in-law gets Hulot a job in his factory. Written by Leon Wolters <wolters@strw.LeidenUniv.nl>

Plot Summary | Add Synopsis

Taglines:

Mr Hulot takes a precious, playful...and purely premeditated look at modern times... See more »

Genres:

Comedy

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

Release Date:

3 November 1958 (USA)  »

Also Known As:

Mon Oncle  »

Filming Locations:

 »

Box Office

Budget:

FRF 250,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

While filming, Tati and his crew came across a playful group of street dogs. Tati made several shots of them, which he later used to connect scenes. When filming was over, he couldn't bear leaving them alone, and he placed an advertisement in the newspaper, calling them "movie stars"; all dogs eventually where taken in by respectable families. See more »

Goofs

When the boys are playing their traffic prank, one of their victims steps out of a 1955 Pontiac Chieftain. In the next cut, as he goes to argue with the woman he thinks has rear-ended him, the Pontiac is replaced by the 1951 Oldsmobile 88 driven by Charles Arpel near the start of the film (and which he is still driving at this point). Even the license plate (523 AP 75) is the same. See more »

Quotes

Charles Arpel: We could go to the Sexy Club.
Madame Arpel: I prefer Constantino and his nice music.
See more »

Crazy Credits

The opening credits appear on signs at a construction site. See more »

Connections

Featured in Zomergasten: Episode #10.3 (1997) See more »

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User Reviews

 
Manifesto of a post-modern Chaplin
9 January 2003 | by (Malmo, Sweden) – See all my reviews

Jacques Tati needs a statue in the movie history hall of fame. He will have it, eventually. As an actor, he created Monsieur Hulot, a sort of post-modern Chaplin, walking through the world as estranged and yet delighted, as a middle-aged ET. As a director, he did about the same thing, but added a visual brilliance, a classical sense for the absurd, and a lot of poetry.

Mon oncle, My uncle, is pretty much the manifesto of his artistic raison d'etre. The uncle, Monsieur Hulot, with his timeless, almost zen-like attitude to life, is contrasted by the successful bourgeoisie family, trying so hard to shine. What happens in the movie, is simply the little everyday absurdities rising out of this meeting of contradictions.

Tati makes fun of everyone, but in such a gentle and loving way, no one gets hurt. He is truly enjoying himself, when observing the little madnesses of modern man. There is no call for anyone getting really angry at anyone else.

Still, there are statements, and they are provoking if pondered. Tati probably succeeded in balancing the 1950's unreserved delight in consumer gluttony, with a bit of a taoist reconsideration as to the significance of it all. Without Tati and his movies, it is quite likely that we would have taken much longer in glimpsing the futility of earthly possessions, and that which has for the last half-century been called progress.

And contrary to many other movies of up to the same age, Mon oncle carries the years with just as straight a posture as the one of Monsieur Hulot. They should show this movie in the schools, so that all kids get to see it and reflect.


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