daoldiges This is my first, and thus far only Tati film. It's cute, clever, and humorous in abundance. Did I bust a gut during this film, no, but that does not in any way deny that it is humorous throughout. Other than a comedy it's hard to classify Mon Oncle. It has elements of slapstick, satire, parody, social commentary to name just a few ingredients, plus some very adept performances. It's very short on dialogue and it will definitely not be everyone's cup of tea, but for me at least it served up and cup full of delights.

dwbatterson I first saw this film many years ago while on vacation in Palm Springs. I thought it was one of the funniest movies I've ever seen! I went into hysterics during some scenes. There's sheer artistry at work here. I'd never heard of Tati and his films before. So I didn't know what to expect. And boy, did he deliver! I've always liked subtle humor, as I think it takes so much more talent and wit than loud, pompous and aggressive comedians. And it requires an intelligent and perceptive audience. An American comedian who comes to mind was Ernie Kovacs (1919-1962). If you think Jim Carrey does great comedy, you'll probably NOT like this movie. This is NOT over-the-top comedy; it's under-the-top humor. Either you GET it, or you don't. I sure did.

pontifikator This is a great movie with the best use of a set I've seen in a long time, and some of the best use of music. The film is the contrast of post-World War II France with its pre-war glory. M. Hulot lives in the old France, in a house in a neighborhood. It's full of people, life is lived and loved on the street, and the music is marvelous. His sister and brother-in-law have become Americanized (even having an American car). Their streets are empty, no houses visible behind the barricades with electric gates. There is no music, only the staccato tattoo of Madame Arpel's heels on the concrete floor. The director uses M. Hulot's house to the fullest, and I encourage watching all the scenes with some attention, as Jacques Tati (who plays Hulot) is a master at his craft.

Red_Ice Jacques Tati hails from a small group of super auteuristic filmmakers that includes names from all over the developed world. Few would think to put him in the same category as the likes of Kubrick, Kurosawa or Lynch, but this is an err created by the vortex of commercial culture, not the quality of the work itself. And just a reminder that all Tati movies survive today as part of a resurrection bestowed upon him by admirers within the established film community. The center of this disparity between amateur and professional opinions lies on the single factor of attention to detail. But we all know that subtlety is not the way of the riff-raff.Where is the subtlety? Why, it's in the soup. Mon Oncle features a different style of story-telling in which we are not hit over the head with the details of the plot. But a plot there still is except the central dynamic character is not a traditional character but the setting of Paris. Once you recognize this, you'd see accordingly, the multifarious set elements and caricatures that shape this character. Only then, will you gain unfettered access to the cornucopia that is Tati's vision.In summary, this story is about the silly plight of a much too likable Mr. Hulot lost in an equally charming city bent on embracing the inevitably machinations of modernity. The real joy is noting ALL of the caricature elements and see its beauty in and of itself. Mon Oncle brings to mind, for me, childish emanations of a Where's Waldo type world and that's exactly it. There is light humour throughout but neither sex nor violence.If this just isn't enough for you, no worries, it means you're an adult. Particularly of similar ilk as the G.F. Babbitt incarnations in that ultra modern home.Keynote points: the street sweeper that never actually sweeps, the dog walker that get walked by his dog, and the pastry vendors that repeated wipes his filthy hands on his even-filthier apron, and much much more.