Monsieur Hulot curiously wanders around a high-tech Paris, paralleling a trip with a group of American tourists. Meanwhile, a nightclub/restaurant prepares its opening night, but it's still under construction.
Once a year the fair comes for one day to the little town 'Sainte-Severe-sur-Indre'. All inhabiters are scoffing at Francois, the postman, what he seems not to recognize. The rising of the ... See full summary »
A boxer is out in the country with his entourage, training for his next fight. Meanwhile, on the farm nearby, Roger is neglecting his chores. As he watches the boxer and his sparring ... See full summary »
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>
Perhaps this can be forgiven in such a whimsical comedy, but whenever M. Arpel parks his car in his tiny home garage, he always pulls in front-end first; however, whenever he leaves for work in the morning, the car always exits the garage front-end first. (Possibly a subtle sight gag on Tati's part?) See more »
The opening credits appear on signs at a construction site. See more »
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.
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