Hulot in Mon Oncle :: Jacques Tati Charlie Chaplin

Jacques Tati’s irrepressible Mr. Hulot, along with Charlie Chaplin’s Tramp character, is one of the greatest examples of the everyman. He walks through life with a whimsy that becomes his trademark. Although dialogue is sparse, he exposes the curious intricacies of life from behind his trenchcoat and pipe. In Mon Oncle, Hulot goes on outings with his nephew while Tati elucidates the rather arduous issues of modernity. Hulot goes back and forth between the bourgeois neighborhood and what can only be described as the â€Å"modern sector† with a carelessness shared only by the mischievous children and lackadaisical canines that roam the streets. Hulot has no job, but his days remain filled with admiring children, the talkative street-folk and vendors, and his meddling sister in the modern sector. Altogether, the film has one of the most meager, yet clever uses of sound. Tati can do more with periodic buzzers and whistles than the average film could achieve with all of its modern technology, which is concomitant with the issues within the film. The only two exceptions to the slight soundtrack are the clamorous and deafening sounds of construction during the opening sequence and the technological mishaps at the plastic factory, both being examples of the entropy of modern life. While Hulot’s sister and her husband stammer around figuring out whether their awkward fountain is spouting or the phone is ringing, the altruistic Hulot contorts his window so the reflection prompts a caged bird to sing with delight. Tati parodies the sterile efficiency of the modern sector. First there is a montage of cars, each traveling at a uniform distance from the next, never an arrow unfollowed. In comparison, the Arpels (the sister’s family) step clumsily along the circuitous stone paths in their garden. The ineffable Hulot chooses either to walk freely, incongruous with the paths that have been laid out, or to navigate them deftly as if he were engaged in a game of hopscotch like the little children outside of his house. At times, Hulot can maneuver the cobblestones with obliviousness shared only by the family’s dachshund. The people’s movements in deference to the courtyard’s gravel squares are reminiscent of the characters moving around the checkerboard floors of a country estate in Renoir’s Rules of the Game (1939). The silly characters of Mon Oncle play around in a modern world that makes little sense to Hulot. He finds himself uncomfortable with the strange angles of the art-deco chair and grimaces humorously. His bout with the futuristic kitchen brings to memory a similar scene in Charlie Chaplin’s Modern Times (1936) in which an unsuspecting