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Forefather of Rowan Atkinson's Mr. Bean, Jacques Tati's Monsieur Hulot--a recurring character in several of his movies--is a blithely clumsy troublemaker, an insouciant twit who leaves uproar in his wake without being aware of it. Trying to describe this 1953 comedy is next to impossible except to say it is a series of vignettes at a vacation resort, with the distracted Hulot providing a lot of laughs. Tati directs, and in a way what that really means is that he composes this movie with a perfect eye and ear for the comic possibilities in everything: composition, lighting, minimal marble-mouth dialogue, certain sounds (a duck call, a door repeatedly opening and shutting). This is a superior work that ranks among all-time classic comedies. --Tom Keogh ... Read more

Reviews (32)

Subtle and funny......
My husband and I enjoyed MR HULOT'S VACATION very much. Although the film has been described elsewhere as slapstick, I don't think it is -- though there are a few scenes that made me laugh like crazy. VACATION is an intelligent and subltle film that does not depend on clever dialogue, in fact there is very little dialogue, though the film is not silent.

The comparison with Mr. Bean is a good one, but Tati is not Roland Atkins any more than Buster Keaton was Charlie Chaplin. In fact, Tati falls somewhere in between Chaplin and Atkins, neither as clumsy or pitiable as the former nor as socially inept as the latter. In fact, Mr. Hulot seems an average sort of guy who experiences more than his share of the odd experiences that can and do happen to everyone.

Mr. Hulot appeals because we can identify with him. For example, Mr. Hulot has problems with his car. Well, I once owned a car I could not get out of second gear. Since the mechanic could not fix it for a price I could afford, I drove it very slowly. My mother owned a car that flicked on the windshield wipers and headlights every time she hit a bump. She had to hit another bump to turn them off. My husband had an old MG with a rusted floorboard. As you rode along you could see the pavement underneath the car. We gave it to my daughter and she traded it for a bicycle. Mr. Hulot's experiences with his car don't seem odd to me, and they make me laugh in recognition.

Chaplin was always center stage and to a certain extent Atkins is seldom out of the frame either. However, Mr Hulot shares the stage with an assortment of people some might call eccentric. In fact, the folks in VACATION remind me of the people who populate my own world. I am not unique, however, I am observant, and one of the things I like about Tati is that he recognizes each person is an individual and that each has interesting experiences that are occasionally funny. As Mr. Bennet says in PRIDE AND PREJUDICE, "but for what do we exist except to amuse others and they in their turn to amuse us." Humor is in the eye of the beholder. Tati simply makes it obvious that people are funny.

Like Mr. Bean, Mr. Hulot blithely moves about unconscious of the havoc he leaves in his wake, but all of us cause havoc somewhere at some point and are unaware of it. Sometimes it's serious havoc. Have you never seen near accidents on the highway where the "cause" goes merrily on his way? Of course some accidents are bad, but often accidents are funny.

Unlike Mr. Bean, Mr. Hulot does not seem to be lonely. He actually has a nice time with the beautiful blonde--well he mostly does, but if he fails to connect on an occasion or two it's not for lack of interest on her part. And, Mr. Hulot is quite a good tennis player who makes a friend of the tennis coach (and impresses the blonde).

Probably the thing I enjoyed the most about this film was the context. What is it about vacations that brings out insanity?? The opening scenes as everyone heads to the beach are hilarious. I too have nearly missed trains in Europe from being on the wrong side of the track. However, there are some wonderful tranquill scenes too. The sound of the waves pounding the surf at night under a full moon, and the clear sunny sky by day, as well as the happy mood of the vactioners--especially the children--is enough to put anyone in a good mood. I love this little film and I'm going to watch it over and over. I'll buy more Tati DVDs too, since I don't have a car payment to worry about.

a nice French comedy
This review is for the Criterion Collection DVD edition of the film

While not as funny as I expected, M. Hulot's Holiday, is one of the most popular French comedies of the 1950's. It is directed by and stars Jaques Tati. The original French title is "Le Vacances de M. Hulot" The film is part of a quadrilogy 3 of which have been put on DVD by the Criterion Collection (as of July 2004).

The story follows Mr. Hulot, a very clumsy man who takes a vacation to an oceanfront hotel. While there he causes many different kinds of accidents ranging from a horse causing a car passenger to be stuck in the rumble seat to letting a load of fireworks to go off inside a shed.

There is much slapstick humor in the film also but does not even come close to the level attained in the Three Stooges short films. The film has a few sight gags also which are impressive.

The Criterion DVD includes an introduction by the writer, Terry Jones and includes the short film "Soigne ton gauche" or "look to your Left".

This DVD was out of print for a while and was rereleased in early 2004 The current edition is identical to the previous edition.

A Comedy of Memory
When I first saw "Les Vacances de Monsieur Hulot" many years ago, I couldn't understand what was the big deal. The film had its amusing moments - Hulot's Amilcar bouncing down the road and that tennis game! - but it seemed too slight for all the adjectives that critics had bestowed upon it.

After getting the DVD two years ago (before it was temporarily discontinued), I watched it again and saw an entirely different movie. The slightness that had bored me when I was teenager had changed into a feeling of wistfulness - the sense that we're watching a transient, quickly passing moment in people's lives. Tati's comedy, much more gentle than most American comedies, reveals itself only in multiple viewings. The film is more like a comic meditation on memory: how our all-too-brief periods of leisure open up and close possbilities for friendship, love, and other human interactions. This is a film to revisit again and again.

1:33:1 vs. 1:37:1?
I will not review this film as I have purchased but not received it yet, however...

TK RILEY's review lambasts Criterion for NOT transfering in WIDESCREEN format:

1. If you look up this film at imdb.com and click on DVD DETAILS you will notice that
the DVD is presented in "Academy Aspect Ratio" which translates to: 1:33:1 Aspect Ratio.

2. If you look up this film at imdb.com and click on TECHNICAL SPECIFICATIONS you will see it was originally filmed within an aspect ratio of 1:37:1

3. imdb.com will state if this is "PAN AND SCAN" (and they do NOT!)
IN FACT, here is a quote from Criterions website titled "About the transfer" -- M. Hulot's Holiday is presented in its original theatrical aspect ratio of 1.33:1.

4. CONCLUSION: How much could we be missing? Answer: NOT MUCH!

Forgetta bou'dit! Purchase and enjoy!

A Real Gem
The comedic genius that was Jacques Tati is that rare type that can make you laugh at life's simple things while also giving the viewer poignant views of the every day. His humor is not mean spirited but finds humor in all the things and people around us.

"M.Hulot's Holiday" takes us to a French seaside resort. Not the flashy places mind you but the kind of place the folks who drive your bus or sells you your groceries would go to. There are the occasional types who think they are above the rest but all are really on the same level. The husband of one of those later types carries out a quiet rebellion with subtle bits of sabotage throughout the film. Into this mix comes Hulot in a car that is an insurance adjuster's nightmare. Hulot goes through his vacation leaving little bits of chaos behind him. A fireworks display that turns into a minor world war or a simple boat trip that turns into a prequel for "Jaws".

The film is mostly in French with subtitles but don't let that put you off because there is not too much dialogue. Tati's humor is mostly visual and it speaks volumes. Some of the vacationers are British and they speak English. There is an alternate all English track that was supervised by Tati but as I said the dialogue is so sparse its not worth it. The film has been restored to its pristine condition and an early short film with Tati is also included. If you are tired of alleged comedies that think shouting at you and using curse words constitutes being funny than go on a little vacation with Hulot. Despite the death trap car you'll have a wonderful time. ... Read more

Description

Jacques Tati's (Mon Oncle, Mr.Hulot's Holiday) delightful look at the absurdities of modern life is a masterpiece of visual comedy and sound gags.Tati's lovable alter ego, Mr.Hulot, ventures out into modern Paris, where the charm of old Europe is buried beneath a sea of steel and plate glass office buildings. ... Read more

Reviews (4)

The worst movie I've ever seen
Ok, judging from everyone else's review, a lot of people like this movie. I can't figure out why. There is absolutely nothing interesting or funny about it. There is NO PLOT whatsoever, no characters and no story. It is just 2 hours of random people crossing the screen, never to be seen again. What is possibly interesting about that?

Classic Film But Terrible Video Transfer
This is a wonderful film. Some may say it's a bit slow paced and perhaps it's not geared for the MTV generation's pace of visual stimulation. Nonetheless, patience has it's rewards for anyone who cares to take a chance. It appears that every last detail in this film was molded by the director, Tati. Unfortunately, the video transfer on this edition is so terribly soft, as though the telecine was not in focus. It's a crime that such a great film could not have been treated with greater care. One only hopes that a DVD transfer of superior quality is in the pipes.

Astonishing Masterpiece of Visual Comedy
In Playtime, Jacques Tati makes some of his sharpest commentary on urban alienation, but does it with a such a singularly light and subtle form of visual comedy that it often borders on the banal. Exquisitely so, though; this is both a broad fable and a complex film that rewards attention to its details.

An Often Neglected Masterpiece
Tati's film is very beautiful. It has a visual look that is unlike any other film. Mr. Hulot, our protagonist is surrounded by tall glass buildings and big blue skies, a very beautiful, yet disturbing avant garde image. This sticks out in my mind as Tati's greatest film, the one that made him great and broke his career. I recommend that you see it. ... Read more

Amazon.com

A comic masterpiece from director-star Jacques Tati (Playtime, Traffic), this 1958 film--Tati's first in color--reprises the carefree, oblivious title character from the director's hilarious international hit Mr. Hulot's Holiday. This time, the story finds Hulot, a self-involved twit on a constant collision with the physical world, grappling with 1950s-style progress. Visiting his sister and brother-in-law in their ultra-progressive household full of noisy gadgets and futuristic decor, Hulot inevitably has dust-ups with modernity, each one exceptionally funny. Taking a page from Buster Keaton's playbook, Tati also employs his trademark techniques with sound and production design to achieve the indefinable, comic genius of his films: the rhythmic clacking of footsteps, the cartoon-panel distance of his camera frame from the heart of the action. (Why are funny things funnier when seen from a few extra feet away?) Tati is one of the cinema's great treasures, and this movie is unforgettable. --Tom Keogh ... Read more

Reviews (27)

Tati's Wise and Wonderful Comedy.
In looking at the other reviews of "Mon Oncle", it would seem that people either love or hate this movie. From my 5-star rating, you can see that I am in the former category. I fail to understand how a film can be called boring, when it is so full of life, and witty observations. Rather than feeling that it was too long, I was sorry when it was over.

In "Mon Oncle", the well-meaning, but dim-witted M. Hulot comes face to face with modern living and technology. His brother-in-law is an affluent executive with a plastics company, and owns a state-of-the-art home, full of amazing gadgets. The house is also a tasteless nightmare, devoid of warmth and comfort, with a "garden" to match. You will not soon forget the atrocious fountain, with a huge, metal fish spewing water into the air--but only to impress important guests, of course. In this concrete monstrosity, the couple are also attempting to raise a small boy, who understandably has more fun away from the place, with his uncle Hulot.

Tati is constantly contrasting old-fashioned, small-town life with urban "progress". In addition to the "house from hell", we see the huge, boring factory where Hulot's brother-in-law works, and where he tries, with hilarious lack of success, to land M. Hulot a job. Meanwhile, back at the ranch--er house--we have the outdoor party scene, with a bizarre group of co-workers and neighbours desperately trying to look important and convivial. Of course, Hulot unwittingly undermines the whole celebration, with a little help from that hideous fountain.

There are a number of scenes of children being--well--children--playing tricks on unsuspecting people. Some scene-stealing dogs are also part of the mix.

The DVD is impressive--colours are excellent--the sound naturally is mono. There is a touching introduction by Terry Jones, the well-known director and Monty Python graduate. Also included is an early short film with Tati called "School for Postmen" which is very amusing--a nice bonus.

For those people who consider "Mon Oncle" to be a comedy masterpiece, I agree completely. If you like Tati and his unforgettable creation, M. Hulot, this disc has to be in your collection.

My favorite movie....
I suppose I am out of touch with "the 90s" in that I detest movies where most of the jokes are based on bodily functions. (Flatulence jokes just aren't funny to me.) I love Mon Oncle because it is a physical comedy - in fact, there is extremely little dialog - and yet it is not insulting to the intelligence. Jacques Tati (one of the great comedians) is M. Hulot, an enigmatic, silent man who lives a quiet, calm life. Dismayed and uncomprehending of his sister's "moderne" life, Hulot strikes up a friendship with his nephew. Some of the best scenes are when the boy leaves his sterile, plastic "hygenic" world for the more earthy but enjoyable world that Hulot occupies (it is as if a small piece of Old France is hanging on in the middle of Paris - the old butcher shops, the cobbled streets). The boy's mother cannot understand why her son would prefer "old things" to the new, modern style.

There is a lot of humor in the movie - lots of Keaton-esque sight gags when Hulot tries to deal with the modern appliances in his sister's house - but underneath the humor there is a sweetness and a yearning and a recognition that the new ways aren't always better than the old. This is a movie with humor and heart.

True, it is more slow-paced than recent comedies (which may be what the reviewer who thought it "THE MOST BORING MOVIE" was used to), but if you allow yourself to relax and appreciate the slow pace, it's a beautiful and brilliant movie.

The adjective "Zen-like" is most overused today, or else I would describe watching this movie as a "Zen-like" experience. It got into my mind and changed me. And I am not a fan of movies, there are very few I like enough to watch through once, let alone repeatedly.

a nice sequel to M. Hulot's Holiday
This review is for the Criterion Collection DVD edition of the film.

Mon Oncle or "My Uncle" again follows Msr. Hulot when he visits the then-modern home of his brother-in-law. There he gets into mischief with his nephew. He later inadvertently creates havoc at a rubber hose factory also. The film is second in a series of four movies three of which have been released by the Criterion Collection.

The film has many items featured that I was not aware existed at the time. These incldue an electric garage door at a residential home that has a motion detector to open the door.

The Criterion DVD also contains an introduction to the film by Terry Jones and there is also a short film, "L'école des facteurs" or "Postman School" which is also quite good.

This DVD was out of print for a while but was reissued in February 2004

Charmed
My children(19 and 8) and I borrowed the most recent dvd version of Mon Oncle from our local library. We were charmed. Watching various visitors to the garden navigating the stepping-stones was marvelous.
Gerard waiting to whistle at passersby was hilarious. (My children and I were wishing we could add our coins to the pot.)
What a perfect picture of a boy being a boy.
We loved the dachshund in his bothersome coat leading the other dogs around town.
Tati was certainly a genius of detail.

The reason for just four stars...My children prefer Les Vacances.

Human unrelations satirized perfectly
I watched this film after seeing my wife's all time favorite, Les Vacances Monsieur Hulot. Bumbling slapstick, nearly as silent film, is used to parodize the era of the happy middleclass housewife of the fifties with all her new appliances, her husband with all his gadgets, and to throw sarcasm at efficient production at the expense of human relations. I don't know of a film that does a better job of this. the ending is happy, with the absent gadget-focused father finally discovering the joy of having a playful young son. ... Read more

Description

Jacques Tati's final feature captures the wonderful absurdities of human behavior on the street and behind the wheel.Tati's comic creation Mr.Hulot returns to the screen as an absentminded inventor transporting his ultramodern camper to Amsterdam for an auto show.The route along the frenzied superhighway is paved with an amazing string of pantomime feats and sound gags, including one of the most balletic car crashes ever recorded.Tati's gift for visual comedy puts him in the company of masters Keaton and Chaplin, but Hulot--his bumbling, pipe-smoking alter ego--remains a beloved original. ... Read more

Reviews (5)

Can be enjoyed over and over again -the mark of a classic
I first saw "Traffic" years ago in a theater and enjoyed it greatly. Then, it vanished and was unavailable for a long time. When it emerged on VHS I bought it eagerly. My first viewing of the tape was something of a let-down. However, the second time I looked at it I began to understand it again and subsequently have continued to find it a delight -just as I did originally. His gentle observations of the Dutch are quite perceptive. This is not "Mon Oncle," of course, but to one who was around when the movie was made (about 1970) it does remind me of an atmosphere of openness and tolerance which lamentably is now gone.

Tati's cinema swansong - slow, flawed, marvellous.
For Jacques Tati, the car is the perfect emblem of the dehumanising effects of modern industrial life. Supposedly a symbol of freedom - of movement, of consumer choice - it actually signifies confinement and uniformity. Our dependence on it dehumanises us; therefore, its capacity for unreliability, for breakdown, seems catastrophic, life-threatening. The proliferaton of cars in our society simply leads to a perpetual traffic jam, an inability to move - a terrifying, apocalyptic early shot reveals an endless parking lot, a virtual city of immobile machines; it also cuts us off from other people.

The problem with attempts to regiment life, to make it uniform and efficient, is that the raw material is intractable human nature, liable to put a spanner in the works through ineptitude, vanity, laziness, incomprehension, desire, officiousness, accident. Tati's simple story follows the Altra car company's attempt to transport a showpiece camping van (full of hilarious parody-Bond gadgetry, including built-in shower and barbecue) to an International Exhibition in Amsterdam. Prodded by an exasperated American public relations officer, M. Hulot and indolent driver Marcel are confounded all the way, by flat tyres, lack of gas, problems with customs, car crashes. As in Tati's very first feature, 'Jour de Fete', a progress leaving humanity behind is signalled by American aerodynamics, in this case the Apollo 11 moon-landings glimpsed on TV.

Tati conveys the industrial homogeneity that scares and angers him in many ways: by emphasising vast, cavernous industrial buildings, numbing in their inhumanity, dwarfing the people occupying them, especially in Tati's rigorous, no close-up shooting; by an austere, monotonous grey colour scheme (buildings, cars, roads, clothes etc.) - even the odd splashes of colour, red, yellow or navy, belong to organisations' uniforms and logos; by the choreography of human activity, whether it is the montage of basic instincts, such as nose-picking or yawning, or ballets of mindless movement, such as the shapes thrown by survivors of an auto-accident; or more didactic montages emphasising the sameness of machines, their reflections multiplying other machines, obliterating the humans operating them. Tati posits against this uniformity: comedy, failure, dream-like sequences - a recurringly eerie effect is the proximity to noisy, country-destroying motorways of quiet rural lanes and towns, where the industrial exists in a more delapidated and decaying, but more eccentric and human form.

'Trafic' won't go down in history as the funniest film Tati made, especially compared with its predecessor, 'Playtime', one of cinema's true masterpieces, whose comic crescendo of collapse it seeks but never attains. The more obvious gags often fall flat or resort to coarseness; the satire is frequently heavy-handed. Even the music, so integral to Tati's art, sometimes sounds like it escaped from a Robin Askwith sex comedy.

Nevertheless, 'Trafic' is pure delight from start to finish, largely because of Tati's long-shot, set-piece style, which allows for an unhurried accumulation of comic detail, a revelation of character through action rather than psychology, and some of the most extraordinary visual visual designs in film - in other words, it offers the viewer a freedom to breathe not vouchsafed the characters. There is a particularly, nastily funny sequence involving a hippy practical joke and Hulot being cruel to a fur jacket.

This is a wonderful little film
This is a cute and at times hilarious film. Though it isn't quite as accessible or clever as some of Tati's other offerings, it can be every bit as enjoyable, provided you spot the jokes and can also enjoy well-employed subtlety. The final few moments of the film are particularly brilliant and truly tie the film together as a metaphor and a visual anagram for the traffic in all of our lives.

Classic Tati
Traffic was the movie which first got me into Tati's work. The story centres around getting a prototype car from France to a motor show in Rotterdam and as you may imagine things do not go smoothly. While Traffic lacks the endearment of Mon Oncle or M Hulot's Holiday it retains Tati's eye for understated visual humour. One of the great things about these works is that you can have seen them 20 or 30 times and still pick up on jokes that you missed before. The humour is not overt and can at times be subtle almost to the point of obscurity, however it repays repeated viewing with a some beautifully wry observations on the absurdities of everyday existence. Not a movie for belly laughs but real feel good humour.

Painfully dull
Having seen "Mr. Hulot's Holiday" many times the past few years and enjoying it fully every time, we decided to order another of Jacques Tati's movies, "Traffic." "Traffic" was void of humor -- no funny lines or sight gags. The possibilities were endless, but not utilized. Mr. Hulot does his funny walk and jerky motions, but they're not tied to any comic situation. This movie left us totally disillusioned. ... Read more

Description

Heralded as one of the funniest men in the world by The New York Times, Jacques Tati centers his fantasy film Parade exclusively around the circus.Here is Tati at his finest, offering gloriously funny visual gags that flow beautifully from one act to another.Tati's rich genius touches on everything from the celebration of children to the comic vignettes of real people.Tati himself appears as Monsieur Loyal with some of the finest mime and visual humor since the days of Chaplin and Keaton.A true masterpiece of wit and wry humor. ... Read more