Ever feel like you’re the only person in the world who didn't get the memo on how to act? That’s basically the life of Monsieur Hulot. You know the type. He’s the guy who tries to be helpful and ends up accidentally starting a small fire or causing a minor riot at a funeral.
Mr. Hulot’s Holiday—or Les Vacances de Monsieur Hulot, if you’re feeling fancy—is a weird movie. I mean that in the best way possible. Released in 1953 by French genius Jacques Tati, it doesn't really have a plot. Nothing "happens" in the way we expect from Marvel movies or even standard rom-coms today. It’s just a tall, gawky guy in a too-small hat going to the beach.
And yet, it’s perfect.
The Man Who Influenced Everything
Most people today know Mr. Bean. Honestly, without Hulot, there is no Mr. Bean. Rowan Atkinson has been super vocal about how Tati was his north star. But where Bean is often a bit mean-spirited or "grotesque," as some critics put it, Hulot is pure. He’s a gentleman. He wears a pipe like a permanent fixture of his face. His car, an old 1924 Amilcar, sounds like a lawnmower having a panic attack.
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The film follows Hulot as he arrives at a seaside hotel in Brittany. That’s it. That’s the movie. He plays tennis. He tries to paddle a kayak. He accidentally gets mistaken for a mourner at a funeral because his spare tire gets covered in leaves and looks like a wreath.
Why the Comedy Feels Different
Most modern comedy relies on "the bit." A character says something snarky, there’s a pause for the laugh, and we move on. Tati didn't do that. He used the whole frame.
If you watch Mr. Hulot’s Holiday, pay attention to the background. While Hulot is fumbling with a door in the foreground, there’s usually something equally hilarious happening in the far corner of the screen. Tati didn't use close-ups. He wanted you to look at the world the way a person standing across the street would.
He also obsessed over sound.
The "plonk" of the hotel’s swinging door is legendary in film schools. It’s not just a sound; it’s a character. Tati would spend months post-syncing these tiny noises to make sure they had the right comedic "bounce."
The Jaws "Controversy" and the 1978 Edit
Here is something most casual fans get wrong. There isn't just one version of this movie. Tati was a notorious perfectionist—kinda like the Stanley Kubrick of comedy. In 1978, decades after the original release, he went back and re-edited the film.
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He cut about 12 minutes.
He also added a specific gag where Hulot’s kayak folds in half, making it look like a shark’s mouth. This was a direct nod to Spielberg’s Jaws. Some purists hate it. They think it breaks the 1950s spell. Personally? I think it shows that Tati never stopped playing with his work. He saw the world as a playground that never closed.
It’s a Satire of How We "Relax"
If you’ve ever gone on vacation and spent the whole time stressing about dinner reservations or checking your work email, this movie is calling you out.
Tati was mocking the post-war middle class. The characters in the hotel are obsessed with their routines. The businessman (M. Schmutz) can't stop taking phone calls. The retired commander treats a picnic like a military invasion. Everyone is so busy "vacationing" that they forget to actually have fun.
Hulot is the only one who is truly present. Sure, he’s a walking disaster, but he’s the only one who really connects with the kids and the "outsiders." He is the spirit of chaos in a world that is becoming too rigid and mechanized.
Actionable Insights for Your Next Rewatch
If you’re planning to dive into Tati’s world, don't just put it on in the background while you scroll on your phone. You’ll miss 90% of the jokes.
- Watch the edges of the screen. The best gags are often tucked away in the corners.
- Listen to the "silence." There’s very little dialogue. The story is told through the rhythm of footsteps, the wind, and the "splut-splut" of that ridiculous car.
- Check the version. If you can, find the Criterion Collection release. It usually includes both the 1953 original and the 1978 "shark" edit. Compare the two; the pacing change is a masterclass in editing.
- Don't look for a "point." Just let the atmosphere wash over you. It’s supposed to feel like a hazy summer afternoon that you don't want to end.
Looking Ahead
In 2026, where everything feels loud, fast, and hyper-edited, Mr. Hulot’s Holiday is a literal vacation for your brain. It reminds us that being a bit of a "head-in-the-clouds" type isn't just okay—it might be the only way to stay human.
Go find the scene with the wet footprints or the tennis match where Hulot’s "bizarre service technique" destroys everyone. It’s better than any modern sitcom. Honestly.
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Start with this film, then move on to Mon Oncle. You'll see how Tati eventually started fighting against technology itself. But for now, just enjoy the beach.