Mon Oncle

''Mon Oncle'' (; ) is a 1958 comedy film directed by Jacques Tati. The first of Tati's films to be released in colour, ''Mon Oncle'' won the Academy Award for Best Foreign Language Film, a Special Prize at the 1958 Cannes Film Festival, and the New York Film Critics Circle Award for Best Foreign Language Film, receiving more honours than any of Tati's other cinematic works.

The film centers on the socially awkward yet lovable character of Monsieur Hulot and his quixotic struggle with postwar France's infatuation with modern architecture, mechanical efficiency and consumerism. Like most Tati films, ''Mon Oncle'' is largely a visual comedy: colour and lighting are employed to help tell the story. The dialogue in ''Mon Oncle'' is barely audible, and largely subordinated to the role of a sound effect. The drifting noises of heated arguments and idle banter complement other sounds and the physical movements of the characters, intensifying comedic effect. The complex soundtrack also uses music to characterise environments, including a lively musical theme that represents Hulot's world of comical inefficiency and freedom.

At its debut in 1958 in France, ''Mon Oncle'' was denounced by some critics for what they viewed as a reactionary or even '' poujadiste'' view of an emerging French consumer society, which had lately embraced a new wave of industrial modernization and a more rigid social structure. However, this criticism soon gave way in the face of the film's huge popularity in France and abroad – even in the United States, where rampant discretionary consumption and a recession had caused those on both the right and the left to question the economic and social values of the era. The film was another box office success for Tati, with a total of 4,576,928 admissions in France.

Plot

M. Hulot is the dreamy, impractical, and adored uncle of nine-year-old Gérard Arpel, who lives with his materialistic parents, M. and Mme. Arpel, in an ultra-modern geometric house and garden, Villa Arpel, in a new suburb of Paris, situated just beyond the crumbling stone buildings of the old neighborhoods of the city. Gérard's parents are entrenched in a machine-like existence of work, fixed gender roles, the acquisition of status through possessions, and conspicuous displays to impress guests, such as the fish-shaped fountain at the center of the garden that, in a running gag, Mme. Arpel activates only for important visitors.

Each element of Villa Arpel is stylistically rather than functionally designed, creating an environment completely indifferent to the comfort, or lack of comfort, of its occupants. In choosing modern architecture to punctuate his satire, Tati once stated, "" ("Geometrical lines do not produce likeable people"). From inconveniently located stepping stones, to difficult-to-sit-on furniture, to a kitchen filled with deafeningly loud appliances, every facet of Villa Arpel emphasizes the impracticality of a dedication to superficial aesthetics and electrical gadgets over the necessities of daily living.

Despite the superficial beauty of its modern design, the Arpels' home is entirely impersonal, as are the Arpels themselves. In fact, M. and Mme. Arpel have completely subordinated their individuality to maintain their social position and their shiny new possessions. Tati emphasises his themes surrounding the Arpel lifestyle (as well as M. Arpel's automatonic workplace, ''Plastac'') with monochromatic shades and cloudy days.

By contrast, Monsieur Hulot lives in an old and run-down city district. He is unemployed, and gets around town either on foot or on a '' VéloSoleX'' motorised bicycle. Gérard, utterly bored by the sterility and monotony of his life with his parents, fastens himself to his uncle at every opportunity. Hulot, little more than a child himself at times, is completely at home with Gérard, but also completely ineffectual at controlling his horseplay with his school friends, who take delight in tormenting adults with practical jokes. Exasperated at their relative's perceived immaturity, the Arpels soon scheme to saddle him with the twin yokes of family and business responsibilities.

Cast

Production

The sets for the film, designed by Jacques Lagrange, were built in 1956 at Victorine Studios (now known as Studios Riviera), near Nice

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