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Jules And Jim [1962] | ![Jules And Jim [1962]](http://ecx.images-amazon.com/images/I/51EVYRHqNcL._SL160_.jpg)
 enlarge | Director: François Truffaut
Actors: Jeanne Moreau, Oskar Werner, Henri Serre, Vanna Urbino, Boris Bassiak
Studio: Cinema Club
Category: DVD
List Price: £19.99
Buy New: £8.97
You Save: £11.02 (55%)
New (8) from £8.97
Rating:  4 reviews
Sales Rank: 5466
Format: Anamorphic, Black & White, Pal
Languages: English (Original Language), French (Original Language), German (Original Language)
Rating: Parental Guidance
Region: 2
Aspect Ratio: 1.78:1
Number Of Items: 1
Running Time: 102 Minutes
Shipping Weight (lbs): 0.2
Dimensions (in): 7.1 x 5.4 x 0.6
EAN: 5014138304980
ASIN: B000HBJRQK
Theatrical Release Date: February 23, 1962
Release Date: September 25, 2006
Shipping: Eligible for Super Saver Shipping
Availability: Usually dispatched within 24 hours
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| Editorial Reviews:
Amazon.co.uk Review
François Truffaut's third feature, though it's named for the two best friends who become virtually inseparable in pre-World War I Paris, is centred on Jeanne Moreau's Catherine, the most mysterious, enigmatic woman in his career-long gallery of rich female portraits. Adapted from the novel by Henri-Pierre Roché, Truffaut's picture explores the 30-year friendship between Austrian biologist Jules (Oskar Werner) and Parisian writer Jim (Henri Serre) and the love triangle formed when the alluring Catherine makes the duo a trio. Spontaneous and lively, a woman of intense but dynamic emotions, she becomes the axle on which their friendship turns as Jules woos her and they marry, only to find that no one man can hold her. Directed in bursts of concentrated scenes interspersed with montage sequences and pulled together by the commentary of an omniscient narrator, Truffaut layers his tragic drama with a wealth of detail. He draws on his bag of New Wave tricks for the carefree days of youth--zooms, flash cuts, freeze frames--that disappear as the marriage disintegrates during the gloom of the postwar years. Werner is excellent as Jules, a vibrant young man whose slow, melancholy slide into emotional compromise is charted in his increasingly sad eyes and resigned face, while Serre plays Jim as more of an enigma, guarded and introspective. But both are eclipsed in the glare of Moreau's radiant Catherine: impulsive, demanding, sensual, passionate, destructive, and ultimately unknowable. A masterpiece of the French New Wave and one of Truffaut's most confident and accomplished films. --Sean Axmaker
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| Customer Reviews:
cela commençait comme un rêve May 14, 2004
kiki (London, UK)
5 out of 7 found this review helpful
I was fortunate enough to study this film along with le dernier metro for a unit of my A level course. At first I thought yeah Truffaut some French producer blatantly wont be all that as it was just a part of my A level.... how wrong could I be?! The music I love beyond belief and the whole storyline is absolutely fantastic, anyone to dismiss this film as some lame French attempt at making cinema I would call a philistine and yes i started off as one. Sometimes you might say that to study something ruins the piece but to be honest this is the exception to the rule it has really made me appreciate the stunning techniques that Truffaut uses in creating his masterpieces. It's a film that you can watch again and again and the emotions are still the same - unchanged opinions and the same things amuse you, aggravate you and touch you. there are many little quotes and actions that stay in my memeory - my favourites being when Jim ("DJIM") skips onto the bike in catherine's room; the race on the bridge; the view of the three hanging out of thier windows to talk to each other and their everyday 'mundane' activities that let you into their world little by little. all these tiny pieces add up to make various themes and give the films beautiful characteristics that i havent seen matched in any other film before. the techniques that truffaut uses to encourage you into forming certain ideas are subtle and ingenius. im surprised that his films havent had more global appreciation as they are definately cinematographic masterpieces that i would recommend for everyone. there are so many things that i'd love to say about Jules et Jim - and ive left the majority out because i think thats something for you to see and realise for yourselves...
"We played with life and lost." February 18, 2004
Kona (Derbyshire)
14 out of 14 found this review helpful
Francois Truffaut's "Jules et Jim" was a very popular art-house movie in the early sixties. The black and white French (English subtitled) film follows the friendship of two college students in bohemian Paris beginning in 1912. They meet Catherine, a free spirit who loves to shock people as much as she enjoys both men's love. She marries Jules, but is not satisfied. They reunite with Jim and continue their love triangle.
Jeanne Moreau's Catherine is eternally alluring, selfish, manipulating, and cruel. She is perfect as the siren who plays with men as a cat plays with a mouse. Oscar Werner gives a sympathetic performance as the idealistic and vulnerable Jules, who goes from carefree youth to melancholy middle-age. Henri Serre is well-cast as Jim, more quiet and introspective, yet still helplessly drawn to the enigmatic Catherine.
This is the kind of movie one admires more each time you see it. At first, you are dependent on the subtitles; later you just enjoy the flow of scenes, the gradual change in mood from youthful exuberance to subdued acceptance, and then the stark and tragic, yet inevitable, conclusion. If you like character-driven stories about unconventional people, you'll enjoy Jules and Jim.
Still crazy after all these years ! April 6, 2003
6 out of 6 found this review helpful
You have to be wide awake to enjoy this film - no Hollywood spoonfeeding here ! This film still surprises - despite today's flashy camerawork and effects, there is a constant creative and original use of unusual edits and shots which is simply astonishing. The music is beautiful and there are moments of great profundity amongst the fizzing champagne of a screenplay. Truffaut's obsession with shoes here alone says more than most directors achieve in a lifetime. The shot which follows the actors outside from inside the house - it is impossible to convey the many levels of meaning in so many stunning sequences -the depth of intimacy in one love scene shot entirely in the dark - so much in just one film !
Key work of the Nouvelle Vague. January 27, 2003
Jason Parkes (Worcester, UK)
3 out of 16 found this review helpful
Jules et Jim is one of the key works of the French New Wave, an almost defintive example of this auteur-based movement alongside such films as Lift to the Scaffold & A Bout de Souffle. This follows Truffaut's first two impressive features- the highly influential Les Quatre Cent Coups (The 400 Blows) & the noir-inflected Shoot the Pianist. Here the film grammar has the same stylistic abandon as Godard's Breathless (which Truffaut co-scripted). Truffaut translates Henri Pierre Roche's standard novel detailing a love triangle & translates it into a visual feast (Truffaut would make another later adaptation of Roche's writings with the underrated Anna and Muriel). The film opens with a rapid sequence of images, you are almost unable to keep up- this was one of the reasons why Scorsese used this film as a model when making Goodfellas (which means that Trainspotting uses the same techniques of hand-held tracking shots, use of music, freeze-frames, rapid montage etc). Oskar Werner & Henri Serre play two best friends, one French the other German, who fall into a love triangle with Jeanne Moreau's Catherine. There are so many wonderful moments here, notably the freeze-frame poses of Moreau (seen in Amelie & attempted in the risible Vanilla Sky) & the classic scene where Catherine dresses up (unconvincingly) as a man- the camerawork is wild with the same youthful abandon in this scene. I like the way the First World War is covered & Truffaut avoids the typical notion of melodrama mainly through style, the cinematography of Raoul Coutard & the score of Georges Delerue. What could be grounded as a conventional period melodrama comes across instead as a major work of 20th Century cinema. Jules et Jim remains one of Truffaut's finest works (I'm amongst those who thought that his late work was everything this was not) & needs to be seen alongside Tirez Sur La Pianiste and Les Quatre Cents Coups. To see the difference between genius and mediocrity, look at Paul Mazursky's attempt to remake this in 1980 as 'Willie & Phil'. If only all costume dramas were this wild...
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