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''Mon Oncle'' (''My Uncle'') is a 1958 comedy film by French filmmaker Jacques Tati. The first of Tati's films to be released in colour,〔Rosenbaum, Jonathan, ''The Color of Paradise'', Chicago Reader Movie Review (Article ): ''Jour de Fête'', Tati's first full-length film, was filmed in colour but released in black and white due to technical issues.〕 ''Mon Oncle'' won the Academy Award for Best Foreign Language Film, a Special Prize at the 1958 Cannes Film Festival,〔(【引用サイトリンク】title=Festival de Cannes: Mon Oncle )〕 and the New York Film Critics Circle Award for Best Foreign Language Film, receiving more honors than any of Tati's other cinematic works. The film centers on the socially awkward yet lovable character of Monsieur Hulot and his quixotic struggle with postwar France's infatuation with modern architecture, mechanical efficiency and consumerism. As with most Tati films, ''Mon Oncle'' is largely a visual comedy; color and lighting are employed to help tell the story. The dialogue in ''Mon Oncle'' is barely audible, and largely subordinated to the role of a sound effect. The drifting noises of heated arguments and idle banter complement other sounds and the physical movements of the characters, intensifying comedic effect. The complex soundtrack also uses music to characterize environments, including a lively musical theme that represents Hulot's world of comical inefficiency and freedom. At its debut in 1958 in France, ''Mon Oncle'' was denounced by some critics for what they viewed as a reactionary or even ''poujadiste'' view of an emerging French consumer society, which had lately embraced a new wave of industrial modernization and a more rigid social structure.〔''Les Années Sauvages: Mon Oncle'', ARTE Magazine, 20.45 Cinéma, 30 Decembre 2002, p. 13 (Article )〕 However, this criticism soon gave way in the face of the film's huge popularity in France and abroad – even in the U.S., where rampant discretionary consumption and a recession had caused those on both the right and the left to question the economic and social values of the era.〔Feldstein, Ruth, ''Motherhood in Black and White: Race and Sex in American Liberalism, 1930-1965'', Cornell University Press (2000), ISBN 0-8014-8438-3, ISBN 978-0-8014-8438-4, pp. 115-116〕〔Tucker, David M., ''The Decline of Thrift in America: Our Cultural Shift from Saving to Spending'', Greenwood Publishing Group (1991), ISBN 0-275-93685-6, ISBN 978-0-275-93685-3, pp. 137-139〕 The film was another big success for Tati with a total of 4,576,928 admissions in France.〔http://www.jpbox-office.com/fichfilm.php?id=9477〕 ==Plot== M. Hulot (Jacques Tati) is the dreamy, impractical, and adored uncle of nine-year-old Gérard Arpel, who lives with his materialistic parents, M. and Mme. Arpel, in an ultra-modern geometric house and garden, Villa Arpel, in a new suburb of Paris, situated just beyond the crumbling stone buildings of the old neighborhoods of the city. Gérard's parents are entrenched in a machine-like existence of work, fixed gender roles, the acquisition of status through possessions, and conspicuous displays to impress guests, such as the fish-shaped fountain at the center of the garden that, in a running gag, Mme. Arpel activates only for important visitors. Each element of Villa Arpel is stylistically- rather than functionally-designed, creating an environment completely indifferent to the comfort, or lack of comfort, of its occupants. In choosing modern architecture to punctuate his satire, Tati once stated, "''フランス語:Les lignes géométriques ne rendent pas les gens aimables"'' ("geometrical lines do not produce likeable people"). From inconveniently-located stepping stones, to difficult-to-sit-on furniture, to a kitchen filled with deafeningly loud appliances, every facet of Villa Arpel emphasizes the impracticality of a dedication to superficial aesthetics and electrical gadgets over the necessities of daily living. Despite the superficial beauty of its modern design,〔Weinberg, Larry, ''Mon Oncle'', InteriorDesign.net, 23 October 2008 (Article )〕 the Arpels' home is entirely impersonal, as are the Arpels themselves. In fact, M. and Mme. Arpel have completely subordinated their individuality to maintain their social position and their shiny new possessions. Tati emphasizes his themes surrounding the Arpel lifestyle (as well as M. Arpel's automatonic workplace, ''Plastac'') with monochromatic shades and cloudy days. By contrast, Monsieur Hulot lives in an old and run-down city district. He is unemployed, and gets around town either on foot or on a ''VéloSoleX'' motorized bicycle. Gérard, utterly bored by the sterility and monotony of his life with his parents, fastens himself to his uncle at every opportunity. Hulot, little more than a child himself at times, is completely at home with Gérard, but also completely ineffectual at controlling his horseplay with his school friends, who take delight in tormenting adults with practical jokes.〔 Exasperated at their relative's perceived immaturity, the Arpels soon scheme to saddle him with the twin yokes of family and business responsibilities.〔 ==Cast== * Jacques Tati as Monsieur Hulot * Jean-Pierre Zola as Monsieur Arpel * Adrienne Servantie as Madame Arpel * Alain Bécourt as Gérard Arpel * Lucien Frégis as Monsieur Pichard * Betty Schneider as Betty (landlord's daughter) * Jean-François Martial as Walter * Dominique Marie as Neighbor * Yvonne Arnaud as Georgette (the maid) * Adelaide Danieli as Madame Pichard * Régis Fontenay as Braces dealer * Claude Badolle as Flea market dealer * Max Martel as Drunken man * Nicolas Bataille as Working man 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Mon Oncle」の詳細全文を読む スポンサード リンク
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