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Monsieur Hulot is a character created and played by French comic Jacques Tati for a series of films in the 1950s and '60s, namely ''Les Vacances de Monsieur Hulot'' (1953), ''Mon Oncle'' (1959), ''Play Time'' (1967) and ''Trafic'' (1971). The character of Hulot (although played by another actor) also appears briefly in François Truffaut's ''Bed & Board'' (1970). He is recognized by his overcoat, pipe and hat, and his distinctive lurching walk. His escapades usually involved clashes with technology and the problems of living in an increasingly impersonal and gadgetized world. In ''Trafic'', Hulot, the designer of a new camper-car, “struggles valiantly… against the perpetual roadblocks of cars, policemen, bureaucrats and just people.” 〔Judith Crist, “A Honey of a Jam,” ''New York Magazine'', Dec 11, 1972. Vol. 5, No. 50.〕 The name of "Monsieur Hulot" is believed to echo "Charlot," the French name for Charlie Chaplin’s character The Tramp. However, "Hulot is more distracted than the Tramp, he cannot disentangle himself from situations as effortlessly, and he is not as central a character, he is not ‘the reason for the film.'"〔Phil Powrie, ''The cinema of France'' (Wallflower Press, 2006), 65.〕 As theorized by David Bellos, Hulot may even represent an inversion of The Tramp: “Hulot tilts forwards whereas Chaplin tilts back; Chaplin’s puppet-like waddle is very different from Hulot’s ‘springy glide’; and there is a difference in costume too: the bowler, tails, huge pants, cane and cigarette are replaced by a pipe, various accessories, pants that are too short, a sports blazer and a Homburg, although the striped socks are borrowed from Keaton.”〔 Of Hulot, Jacques Tati has remarked that he is “tall, and he cannot hide –he cannot conceal himself behind a lamppost or anything else –whereas Chaplin could hide behind a small trash can, leave his hat on the can, then sneak behind another small can, while making people believe that he was still in back of the first one, whereupon he would come back to grab his hat. Hulot, by contrast, has the stature of a rather steady or stand-up guy; he behaves exactly like any man from Paris or even from the provinces.”〔Bert Cardullo, ''World Directors in Dialogue: Conversations on Cinema'' (Scarecrow Press, 2011), 47.〕 Film critic Michel Chion has written that:
This view is shared by Roger Ebert, who, in his review of ''Les Vacances de Monsieur Hulot'', states that Hulot “is friendly to a fault, but he is the man nobody quite sees. The holidaymakers are distracted by their own worlds, companions, and plans, and notice Hulot only when something goes wrong, as it often does.”〔Roger Ebert, ''The Great Movies'' (Random House Digital, Inc., 2003), 300.〕 Rowan Atkinson has cited Hulot as an influence for his character Mr. Bean.〔Bruce Dessau, ''Bean There Done That: The Life and Times of Rowan Atkinson'' (Welcome Rain, 1997).〕 ==References== 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「Monsieur Hulot」の詳細全文を読む スポンサード リンク
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