It is more of a class contrast. Le Monocle de Mon Oncle (Canto VIII) Like a dull scholar, I behold, in love, Armand J. Cauliez, Jacques Tati, Paris, Seghers, 1968. Tati’s films rely on the viewer’s visual and aural observational skills. 9 Mon oncle won the Academy Award for the Best Foreign Film of 1958, and when he arrived in Hollywood for the ceremony, the Academy asked Tati if there was anywhere he would like go. He brings disaster with him. Brent Maddock, The Films of Jacques Tati, Metuchen, NJ, and London, Scarecrow Press, 1977. Resnais die-hard fans (including me) and intellectuals. Nezar AlSayyad, ‘Cynical Modernity, or the Modernity of Cynicism’, in Cinematic Urbanism: A History of the Modern from Reel to Real, London and New York, Routledge, 2006, p. 101. Out his top floor view from his modest flat are markets and bistros teeming with activity and fascinating characters. 5. He enters a secretary’s office and suddenly realizes what’s happened after trailing his own prints, so he tries to clean off his shoes before she returns, but sets them atop her desk to do so. There is almost no drama at all in Tati’s films – even when Hulot’s brother-in-law in Mon Oncle, Monsieur Arpel (Jean-Pierre Zola), raises his voice in anger, the film’s vital signs don’t fluctuate for a moment. It consists of twelve eleven-line stanzas of flexible blank verse. In Mon oncle, consider Hulot’s first factory job, secured by Mr. Apel who pleaded with his boss for the favor. But though they may be devoid of laughs, they certainly aren’t devoid of meaning. Even the aforementioned street sweeper cannot be bothered to sweep when a good conversation is to be had. Hulot arrives at the back door of the factory and before entering unknowingly steps into some white plaster collected on the ground. MON ONCLE D' AMERIQUE IS FANTASTIQUE Martyn Brown 18 March 2002 This film will only appeal to two types of people 1. 6. Workers at Mr. Arpel’s factory, Plastac, from factory hands to the secretary pool, sit idle until Arpel himself comes around the corner to check on their progress. Alain Resnais' "Mon oncle d'Amerique" (1980) is one the New Wave pioneer's best films, a winner of the Grand Prize at Cannes. Even if these scenes amount to but a few moments within the larger picture, they have a profound ability to touch our heart. This site uses cookies. As a result, Tati sought to infuse his future Hulot pictures with a social commentary, lending substance to the director’s arrangement of clever visual gags, elaborately conceived production design, minimalist presentation, and meticulous concentration of subtle details—all of which took precedence over the political “purpose” of the film. The Arpel family’s dachshund, Dacky, whose plaid sweater hilariously matches Mr. Arpel’s night jacket, sneaks out to join this band of canines on their cheerful outings. Mon Oncle is often regarded as a paean to a bygone France that has gradually been usurped by the grand architectural renovations taking place in French urban areas throughout the 1950s and casts a satirical eye on the so-called benefits of modern design and technology. For Tati, this type of city living is destined to rapidly disappear. The message of Mon oncle is ‘not a defence of tradition’ but instead a ‘clear indictment of progress at any price’. For Mon oncle, Tati’s social remarks are maintained in the contrast between the Arpel’s “suburban villa” and Hulot’s “old quarter” of Paris, and how ultimately modernism makes day-to-day life more complicated, despite its intentions to make life simpler. He was a silent film star in a post-silent world, and is remembered as one of the great screen comedians – perhaps the greatest – of the sound era, up there with Buster Keaton, Chaplin, and Leslie Nielsen. The fashionable notion – forwarded by Le Corbusier – that modern architecture could provide an ideal form of utopian self-improvement is contested throughout Tati’s work and reaches a critical juncture in Mon oncle. 5 These forces might be expressed as the effects of technology, mechanisation, urban planning and design, and modernity at the level of human behaviour – a period, in the words of Kristin Ross – of ‘fast cars and clean bodies’. By the title, Mon oncle seems to be from the perspective of Hulot’s nephew, although the boy’s limited screentime suggests otherwise, that perhaps Hulot is a kind of universal uncle figure presented to us by Tati. His precise films (he was a notorious perfectionist, ranked with Robert Bresson for the total control he exerted on set) were made to look breezy and effortless, and given a greater depth by successfully merging farce, visual comedy, and social commentary on issues such as materialism, class relationships, and the increasingly impersonal nature of modernisation.
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