Mon oncle
- 1958
- Tous publics
- 1h 56min
NOTE IMDb
7,7/10
24 k
MA NOTE
M. Hulot visite le monde technologique de sa soeur, de son beau-frère et de son neveu, mais ne parvient pas vraiment à s'adapter à cet environnement.M. Hulot visite le monde technologique de sa soeur, de son beau-frère et de son neveu, mais ne parvient pas vraiment à s'adapter à cet environnement.M. Hulot visite le monde technologique de sa soeur, de son beau-frère et de son neveu, mais ne parvient pas vraiment à s'adapter à cet environnement.
- Récompensé par 1 Oscar
- 7 victoires et 4 nominations au total
Jacques Tati
- Monsieur Hulot
- (non crédité)
Lucien Frégis
- Monsieur Pichard
- (as Lucien Fregis)
Jean-François Martial
- Monsieur Walter
- (as J.F. Martial)
Alain Bécourt
- Gérard Arpel
- (as Alain Becourt)
Régis Fontenay
- Braces Dealer
- (as Regis Fontenay)
Daki
- Daki, the Arpels' Dachshund
- (non crédité)
Dominique Derly
- La secrétaire de Monsieur Arpel
- (non crédité)
- …
André Dino
- Le balayeur municipal
- (non crédité)
- …
Histoire
Le saviez-vous
- AnecdotesWhile filming, Jacques 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 were taken in by respectable families.
- GaffesWhenever 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. (This may be a subtle sight gag on (Jacques Tati)'s part.)
- Citations
Charles Arpel: We could go to the Sexy Club.
Madame Arpel: I prefer Constantino and his nice music.
- Crédits fousThe opening credits appear on signs at a construction site.
- Versions alternativesAn English version of the movie, that is some 10 minutes shorter with less dialogue, was shot side-by-side with the French version.
- ConnexionsFeatured in Omnibus: Monsieur Hulot's Work (1976)
Commentaire à la une
Manifesto of a post-modern Chaplin
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.
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.
utile•286
- stefan-144
- 9 janv. 2003
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Détails
Box-office
- Budget
- 250 000 F (estimé)
- Montant brut mondial
- 85 822 $US
- Durée1 heure 56 minutes
- Mixage
- Rapport de forme
- 1.37 : 1
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