Mon Oncle Film Analysis

Although branded as comedies, Tati’s films are not the conventional laugh-out-loud box-office hits. In fact, some might not even consider Tati films to be particularly funny. But though they may be devoid of laughs, they certainly aren’t devoid of meaning. Packed with recurring themes and symbolism, they were often - among other things - satires on modern society and the advancement of technology. Although these, along with the element of play, are recurring themes throughout his 6 films, I’ll be looking at 2 films in particular: Mon Oncle and Playtime, to see how Tati uses his unique style of sound design, visual gags, geometry and colour to bring comedy and meaning to his films.

In Mon Oncle, or My Uncle in English, we follow Tati’s famous character, Monsieur Hulot, and

Hulot’s flat in the rundown but homely neighbourhood is juxtaposed with the ultra-modern, impersonal Villa Arpel. This is further emphasised by the use of music. Whenever we see the old, tumbledown town, jolly, traditional French music is heard. With Villa Arpel however, the absence of music mirrors how sterile and soulless it is. Mon Oncle is Tati’s first colour film, and he uses this added dimension along with geometry to bring out the contrast of two worlds. Painted in robotic white and silver or unnatural, plastic hues like pink and green, the geometric world of the Arpels is mechanical, stuck in routine and gender-roles; every day, Monsieur Arpel observes the strict social hierarchy at work while Madame Arpel remains in a perpetual cycle of housekeeping. Cars drive in synchronisation, and even dropping off children is a rhythmic, repetitive procedure. Tati shows us that in the modern world, daily life has become factory-like and impersonal. Hulot’s vernacular world, however, is spontaneous and filled with warm, earth tones. These organic colours are in tune with Hulot’s relaxed way of life.