Anthony Iessi Chaplin, Keaton, Jerry Lewis, Inspector Clouseau, Mr. Bean…. We know all of these characters, but what of Hulot? The French pantomime from the wonderful imagination of Jacques Tati. Not to say that slapstick comedy hadn't existed or flourished already under the world of Chaplin, but Tati offered a unique, intimate, and really gentle version of it. That is to say, he combines it with the principles of Italian Neorealism. It's Micro-Slapstick, as I would call it. A combination of real life, silly and sublime, is what Tati is striving to look for. No film of his better exemplifies this idea than Tati's first color picture "Mon Oncle". It's a series of long-form skits, filled with very humorous micro-actions and very foolish behavior on behalf of Hulot and the entire set of goof-ball players. The story simply tells of Hulot, down on his luck, crashing at his sister's place in order to find a job in a new city. What follows is comedy of errors. As we know, Hulot can't help himself, and his naïve curiosity leads him into some embarrassing and outrageous situations. But tomfoolery is gracefully done by all of the actors and the director himself. It's a ballet of sorts. Take for instance a scene where Hulot accidentally block the flow of water to the strange fish-shaped fountain in his sister's front lawn, during a lavish dinner party. For about ten minutes or so, we see the event unfold, in a long shot, as we are guided through the step-by-step process of fixing the problem. Hulot tries to stick his foot back onto the hole, which works temporarily, but he can't just keep his foot there! After a while of strange problem solving, Hulot runs off, and leaves the patrons of the dinner party to deal with the problem themselves. What follows is another series of embarrassing problem solving, this time revolving around people who don't have a clue as to how the situation happened in the first place. Every last action is as monotonous, strange and silly as a predicament like this would play out in real life. Tati allows us to appreciate the simple fact of life, that when things go bad, they tend to go worse over time. What about the gentle side of the picture? Can it be just mishaps, or is there truly a heart to the picture? Well there certainly is, and it even begins at the very beginning. The film opens and ends with a group of puppy dogs frolicking around the French city of which the film takes place. As adorable as that is, it's a reassurance that where Tati is taking us is a happy little place. The spirit from the very beginning is just plain fun. All of the jokes and gags that the film offers us definitely exist along the lines of laughing with the performers, not at them. It's just plain fun to embark on some mischief. Take for instance, the scene where the little kids of the town gamble to see how many townspeople knock into a lamppost. It's hilarious, in that classic child prankster way, and definitely as harmless as they come. The parents all blame Hulot for influencing the trouble, but Hulot doesn't care, for he and boys are having way too much fun. It all cultivates near the end of picture, when he gather up the boys in order to dispose of a clump of rubber hoses that he accidentally made at the factory. Hulot and boys throw the big pile off of a bridge, into the water, and scare a teenage couple down below into thinking that a suicide had taken place. The boys and Hulot run off in their wagon, and sing songs all the way home. There's such an innocence to these actions, and reminds us greatly about the simplicity of childhood. Hulot is a little kid at heart, and much to the parents with whom he is living with; the careless fun eventually rubs off them. Through a series of pantomimes, gestures and other events, Tati creates a beautiful world of childhood wonder, and that is what makes the film "Mon Oncle" unlike any slapstick comedy ever since. It's the child at heart that Tati was able to capture in all of us through his titular character Hulot, and through his films, we'd all like to be like those puppy dogs, and scamper about the streets of France, looking for fun at every turn.

Jackson Booth-Millard I knew about this French film when I saw it listed in the 1001 Movies You Must See Before You Die book, I knew the title translated was "My Uncle", and I later found out it was the follow up to Monsieur Hulot's Holiday, from returning director Jacques Tati (Playtime). Basically Monsieur Hulot (Jacques Tati) is the adored uncle of nine year old Gerard Arpel (Alain Bécourt), the nephew lives with his parents Charles (Jean-Pierre Zola) and Madame Arpel (Adrienne Servantie) in an automated and convenience filled ultra-modern house, which includes a fish fountain in the yard that must be turned on whenever important guests visit. Monsieur Hulot meanwhile lives in a smallish flat in an old building in an old neighbourhood, it may not be high in standard, but Gerard prefers to spend more time there, as her own house is not all that child friendly, the Arpels may be trying to mold M. Hulot more into the person they are used to in the upper class world. Charles offers his brother-in-law a job in the factory where plastics are manufactured, and Madame Arpel hosts a garden party, inviting him and trying to impress a few guests with her fountain and impressive home, but the bumbling nature of M. Hulot causes problems for their plan, but he may in fact help them in some way. Also starring Lucien Frégis as Monsieur Pichard Betty Schneider as Betty, Landlord's Daughter, Yvonne Arnaud as Georgette, the Housekeeper, Dominique Marie as Neighbour, Jean-François Martial as Walter and Adelaide Danieli as Madame Pichard. I will be honest and say that I didn't see much of a story going on, but I know that Tati gave a good performance as the nice guy that is clumsy, I did giggle at the obvious moments, like the water fountain being meddled with, and the luxurious setting looked cool and colourful, so it is a fun and watchable satirical comedy. It won the Oscar for Best Foreign Language Film. Very good!

h-breckmann Mon Oncle is a movie with a lot of subtle humor. You don't need subtitles as all speaks for itself. Also Monsieur Hulot only speaks when they ask for his name. It is an attack on modern times with the stupid superfluous technology that does not serve but make people crazy. Also the snobs are made ridiculous by their own technology and children, The film starts and ends with dogs. The dogs more or less are an example how man could be: free, having fun without the the obstacles of daily life they create themselves. The dogs are the winners. The children show us how adults easily can be fooled and also they always win.In most of his movies there is only one typical french soundtrack that is constantly repeated, it enhances the suggestion of being in France and part of it. The sound is separately added to the movie and has the effect your hearing is far more sensitive. This also enhances the effect of being part of it.The house with this special gravel garden is shocking modern considering the 50's the film was made. It is almost a piece of avant-garde art.Take your time to watch it. This movie is art, not just another film that rolls out of a movie factory. Tati creates his own world that shows us who we are. Tati made his masterpiece but I can understand many people will not notice all the humor that passes.Like in "Vacanses de Monsieur Hulot" and "Jour de Fete" there are so many subtle moments of humor, it is normal you will miss some.It may be "The Party" with Peter Sellers was inspired by Mon Oncle as it has the same ingredients: the modern house with technology and the snobs that own it.There is not anyone else who made films like Tati. In Europe Tati always was respected and admired for his work. Except for "Trafik" I have all films on DVD. All members of a family can watch these films.

Red_Ice Jacques Tati hails from a small group of super auteuristic filmmakers that includes names from all over the developed world. Few would think to put him in the same category as the likes of Kubrick, Kurosawa or Lynch, but this is an err created by the vortex of commercial culture, not the quality of the work itself. And just a reminder that all Tati movies survive today as part of a resurrection bestowed upon him by admirers within the established film community. The center of this disparity between amateur and professional opinions lies on the single factor of attention to detail. But we all know that subtlety is not the way of the riff-raff.Where is the subtlety? Why, it's in the soup. Mon Oncle features a different style of story-telling in which we are not hit over the head with the details of the plot. But a plot there still is except the central dynamic character is not a traditional character but the setting of Paris. Once you recognize this, you'd see accordingly, the multifarious set elements and caricatures that shape this character. Only then, will you gain unfettered access to the cornucopia that is Tati's vision.In summary, this story is about the silly plight of a much too likable Mr. Hulot lost in an equally charming city bent on embracing the inevitably machinations of modernity. The real joy is noting ALL of the caricature elements and see its beauty in and of itself. Mon Oncle brings to mind, for me, childish emanations of a Where's Waldo type world and that's exactly it. There is light humour throughout but neither sex nor violence.If this just isn't enough for you, no worries, it means you're an adult. Particularly of similar ilk as the G.F. Babbitt incarnations in that ultra modern home.Keynote points: the street sweeper that never actually sweeps, the dog walker that get walked by his dog, and the pastry vendors that repeated wipes his filthy hands on his even-filthier apron, and much much more.