A wide-appealing and playful critique of modern bourgeois life. The mise-en-scene with all of its vibrant flat colours is incredible. This second Hulot film also has the benefits of a story (though loose), a fish fountain, and a larger cast of dogs. Though I didn't laugh as often as Holiday, I laughed harder. The scene in the plastic factory is a standout favourite, and I am glad it didn't just mimic Modern Times.
Dans mon oncle, Tati renvoie dos à dos la modernité et la nostalgie, pour s'amuser de tout. Les borborygmes des personnages semblent des phylactères de personnages de BD et comme dans la BD, les compositions des cases, les agencements des plans et des couleurs, la recherche du gag visuel dominent tout entier. Dommage que cette énergie qui se voudrait si spontanée soit produite par un si parfait agencement.
*puts on the soundtrack before starts writing* This movie fills up with joy every corner of my body and my soul. It brought the kid of out me, it made me re-experience my childhood, it made my smile and laugh, and when it was over I found myself jumping and dancing around from my room to my living room. In my eyes this is a MASTERPIECE by Tati, directing and acting, but doing a phenomenal job in both areas.
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.