Mon oncle d'Amérique
1980 Drama   
 
  • Director: Alain Resnais
  • Script: Jean Gruault, Henri Laborit
  • Photo: Sacha Vierny
  • Music: Arié Dzierlatka
  • Cast: Gérard Depardieu (René Ragueneau), Nicole Garcia (Janine Garnier), Roger Pierre (Jean Le Gall), Nelly Borgeaud (Arlette Le Gall), Pierre Arditi (Zambeaux, le représentant de la direction générale à Paris), Gérard Darrieu (Léon Veestrate), Philippe Laudenbach (Michel Aubert), Marie Dubois (Thérèse Ragueneay), Henri Laborit (Himself), Bernard Malaterre (Le père de Jean), Laurence Roy (La mère de Jean), Alexandre Rignault (Le grand-père de Jean), Véronique Silver (La mère de Janine), Jean Lescot (Le père de Janine), Geneviève Mnich (La mère de René), Maurice Gauthier (Le père de René), Catherine Frot (Arlette jeune fille)
  • Country: France
  • Language: French
  • Runtime: 125 min
  • Aka: My American Uncle; Les Somnambules
 
 
 
Summary
An eminent biologist, Henri Laborit, illustrates how behavioural theories about survival and social development pertaining to animals can be applied to human beings. He does this by making reference to the lives of three people: Jean, an ambitious writer and politician, Janine, an aspiring actress, and René, a country boy who ends up managing a textile factory.  All three characters are placed in threatening, life-changing situations which, the professor claims, vindicates his theories…



Review
What could easily have been a conventional drama about the pressures of modern living is magnificently transformed into a multi-layered film which is both compelling and entertaining, despite its unusual narrative structure.   Although less distinctive than some of Resnais’ earlier films, it illustrates the director’s capacity to make great cinema that is provocative and innovative without alienating its potential audience.  Not only does Resnais have something new to say, he actually manages to persuade us to listen to him, a knack that many other avant-garde directors lack.

The films switches between a documentary-style discussion of animal behaviour and a highly charged emotional drama with almost the same unsettling effect as someone switching between two television channels.  The two styles differ so markedly that they genuinely complement each other and, remarkably, the drama appears that much more poignant and comic.  The two strands to the narrative cross in a number of ways, including some surreal intermediate scenes where human beings actually become the laboratory white mice they are being compared with.

The human drama part of the film is itself split into three strands, which ultimately converge.  This fragmentation of the narrative ought to be a distraction but it works to great effect, enabling Resnais to explore one of his favourite themes, the interaction of time, place and memory.

© James Travers 2001


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