English-language version Īn English version of the film, nine minutes shorter than the original and released as My Uncle, was filmed at the same time as the French-language version. The sets for the film, designed by Jacques Lagrange, were built in 1956 at Victorine Studios (now known as Studios Riviera), near Nice, and torn down after filming was complete. Betty Schneider as Betty (landlord's daughter).Exasperated at their relative's perceived immaturity, the Arpels soon scheme to saddle him with the twin yokes of family and business responsibilities. 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. Gérard, utterly bored by the sterility and monotony of his life with his parents, fastens himself to his uncle at every opportunity. He is unemployed, and gets around town either on foot or on a VéloSoleX motorized bicycle. Arpel's automatonic workplace, Plastac) with monochromatic shades and cloudy days.īy contrast, Monsieur Hulot lives in an old and run-down city district. Tati emphasizes his themes surrounding the Arpel lifestyle (as well as M. Arpel have completely subordinated their individuality to maintain their social position and their shiny new possessions. 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.ĭespite the superficial beauty of its modern design, the Arpels' home is entirely impersonal, as are the Arpels themselves.

In choosing modern architecture to punctuate his satire, Tati once stated, ' Les lignes géométriques ne rendent pas les gens aimables' ('geometrical lines do not produce likeable people').

Ī replica of Villa Arpel at the Cent Quatre in ParisĮach 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. The film was another big success for Tati, with a total of 4,576,928 admissions in France. However, this criticism soon gave way in the face of the film's huge popularity in France and abroad – even in the U.S., 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. Īt 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. The complex soundtrack also uses music to characterize environments, including a lively musical theme that represents Hulot's world of comical inefficiency and freedom. The drifting noises of heated arguments and idle banter complement other sounds and the physical movements of the characters, intensifying comedic effect. The dialogue in Mon Oncle is barely audible, and largely subordinated to the role of a sound effect. As with most Tati films, Mon Oncle is largely a visual comedy color and lighting are employed to help tell the story. 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. 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 honors than any of Tati's other cinematic works. Mon Oncle ( French pronunciation: My Uncle) is a 1958 comedy film by French filmmaker Jacques Tati.

A story about my uncle art