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.

The drifting noises of heated arguments and idle banter complement other sounds and the physical movements of the characters, intensifying comedic effect.

[7] However, this criticism soon gave way in the face of the film's huge popularity in France and abroad – even in the United States, 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.

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.

[11] 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.

[7] Exasperated at their relative's perceived immaturity, the Arpels soon scheme to saddle him with the twin yokes of family and business responsibilities.

The website's critics consensus reads, "Jacques Tati's most accessible film is a paean to gentle values and observing the small details of life.

"[3] Crowther noted that its style of humor "was done superbly more than twenty-five years ago by René Clair in À Nous la Liberté and afterward by Charlie Chaplin in Modern Times.