In Pursuit of the Red Hose
Our admiration for Jacques Tati is undeniable. The great master, one of the most original names in French cinema, crafted films that offered delicate critiques of modernization, technology, and human relationships. He seamlessly carried the humor of silent cinema into the sound era, masterfully blending slapstick with visual comedy.
One of Tati’s most famous films, Mon Oncle, is his second feature centered around the character of Mr. Hulot. The film humorously explores the clash between traditional life and technological progress in modernizing France. Hulot frequently visits his sister and brother-in-law’s ultra-modern home, yet he never quite fits into this rigid, mechanized world. The satire, particularly through the automated gadgets and peculiar architectural designs, highlights Tati’s deep interest in space and design. The film vividly contrasts Hulot’s spontaneous, nature-connected way of life with the cold, mechanical order of the modern world. In this sense, Mon Oncle is both nostalgic and forward-thinking. Tati’s long takes, minimal dialogue, and impeccably timed physical comedy reach their peak in this work.
Mr. Hulot and the Factory: The Red Hose Scene
One of the film’s most memorable scenes takes place when Hulot starts working at his brother-in-law’s plastic hose factory. His task is to cut and organize hose on the production line, but as always, his natural rhythm clashes with the mechanical system, and chaos quickly ensues.
Here, the red plastic hose becomes a significant motif. As Hulot cuts the hoses incorrectly, they scatter across the floor, creating an uncontrollable mess. The sequence echoes the assembly line scene in Modern Times, while the randomness and disorder of the hoses stand in stark contrast to the rigid precision of industrial production—just as Hulot himself is out of sync with the modern world.
The use of color is also striking. While the film’s palette is dominated by muted, pastel tones, the sudden appearance of the vibrant red hose creates a visual emphasis. This contrast can be seen as a rebellion against the monotony of the industrial world. Hulot’s failure to adapt to the factory and his eventual departure subtly underscores Tati’s critique of modern work culture.
David Lynch’s Admiration for Tati
Jacques Tati has been an immense source of inspiration in cinema history. The late David Lynch was among those who openly expressed their admiration for the French master. Lynch praised Tati’s understanding of human nature and how he infused it into his films. In an interview, he once said:
“When you watch Tati’s films, you realize how deeply he understands and loves human nature, and that’s incredibly inspiring.”
Lynch’s admiration for Tati is evident in his own work. His approach to space, visual humor, and observational style reflect Tati’s influence in unexpected ways.
Lynch and the Red Hose
Lynch’s tribute to Tati is visually embedded in his films. The red hose motif from Mon Oncle subtly appears in certain scenes, serving as a cinematic nod to Tati’s legacy.
Mulholland Drive (2001) In the Winkie’s Diner scene, as the hitman and his associate converse, a man carrying a red hose walks past in the background. This moment, in a film that blurs the line between dream and reality, recalls Tati’s own exploration of the tensions between modernity and human interaction.
Wild at Heart (1990) In one scene, a red hose is visible outside a window. This deliberate inclusion suggests Lynch’s homage to Tati. Just as the factory scene in Mon Oncle uses the hose as a symbol of disorder within an overly structured world, Lynch incorporates it into his own surreal and unsettling cinematic landscape.
These details go beyond mere references or homages; they highlight the intersection of two distinct cinematic sensibilities. Tati transforms spaces into modernist labyrinths, while Lynch constructs eerie, nightmarish urban landscapes—both alienating their characters from the worlds around them. Where Tati uses comedy, Lynch employs surrealism.
When Tati’s critique of order meets Lynch’s deconstruction of the American dream, the red hose becomes more than just an object—it bridges their two cinematic worlds. In Mon Oncle, Tati playfully critiques industrialization through the unruly red pipes; in Lynch’s films, they resurface as subtle echoes, weaving Tati’s influence into the visual memory of cinema.
Nil Birinci
