Set loose in a society of baudy materialism, our favorite anti-hero, Monsieur Hulot is back. He explores the oppressively tricked-out bourgeouis home of his sister and causes all sorts of trouble at the antiseptic plastic hose factory where he gets a job.
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The delicious conflict between French traditionalism (charcuterie shops and a rural folksiness) and French modernity (pretensions of 50s Art Deco bourgeois society). Aesthetic decisions rival Chaplin and Keaton for intricacy in its slapstick, yet the mundane inconsequential realism of the narrative arc is a potent counterpoint to the engineered narratives of Hollywood and linear, arch plot, mainstream cinema.
As charming as all Tati...probably just beats out M. Hulot's Holiday as my favorite from this singular director. It might not have you laughing out loud, but you will have a smile on your face the whole way through.
An essentially sentimental view of the modern world with a wonderfully contrasting sense of location from the 'real' Paris of Hulot's roof top abode to that of his brother in-law, all astroturf and clean lined sterility. Consistently inventive and perceptive.
I wasn't entirely satisfied with JOUR DE FETE and Mr. HULOT'S HOLIDAY. According to me, they were more a succession of comic scenes than real movies. MON ONCLE, on the contrary, is a fully satisfying film that deserves to stay in any movie lover's library. Masterpiece.
An endearing contrast of clumsiness and naivete vis-a-vis ultramodernism and pretentious upper-class etiquette. Has there ever been as lovable a reconciliation between parent and child as shown in the last scene?
Mr. Hulot returns in another charming French comedy from director-star Jacques Tati. A clever, beautifully-designed, virtually plotless film - its biggest flaw is its slow pacing, much of the humor and energy is dampened by long stretches of minutia. Entertaining, but not really Tati's best.