Jules and Jim (1962) Jules et Jim (original title)

Director:

François Truffaut

Writers:

Henri-Pierre Roché (novel)
François Truffaut (adaptation) ...
(more)

Release Date:

23 January 1962 (France)

Genre:

Drama | Romance

Plot:

Decades of a love triangle concerning two friends and an impulsive woman.

Plot Keywords:

Love | Friendship | Germany | Love Triangle | German

Awards:

Nominated for 2 BAFTA Film Awards. Another 3 wins

Cast

Jeanne Moreau	...	Catherine
Oskar Werner	...	Jules (as Oscar Werner)
Henri Serre	...	Jim
Vanna Urbino	...	Gilberte
Serge Rezvani	...	Albert (as Bassiak)
Anny Nelsen	...	Lucie
Sabine Haudepin	...	Sabine, la petite
Marie Dubois	...	Thérèse
Michel Subor	...	Récitant / Narrator (voice)
rest of cast listed alphabetically:
Danielle Bassiak	...	Albert's companion (uncredited)
Elen Bober	...	Mathilde (uncredited)
Pierre Fabre	...	Drunkard in cafe (uncredited)
Dominique Lacarrière	...	One of the women (uncredited)
Bernard Largemain	...	Merlin (uncredited)
Kate Noelle	...	Birgitta (uncredited)
Jean-Louis Richard	...	Customer in cafe (uncredited)
Michel Varesano	...	Customer in cafe (uncredited)
Christiane Wagner	...	Helga (uncredited)

Directed by
François Truffaut

Writing credits
Henri-Pierre Roché		(novel)
François Truffaut		(adaptation and dialogue) &
Jean Gruault		(adaptation and dialogue)

Produced by
Marcel Berbert	....	executive producer (uncredited)
François Truffaut	....	producer (uncredited)

Original Music by
Georges Delerue

Cinematography by
Raoul Coutard

Film Editing by
Claudine Bouché

Production Design by
Fred Capel		(uncredited)

Costume Design by
Fred Capel		(uncredited)

Makeup Department
Simone Knapp	....	key hair stylist (uncredited)
Simone Knapp	....	key makeup artist (uncredited)

Production Management
Maurice Urbain	....	production manager (uncredited)

Second Unit Director or Assistant Director
Robert Bober	....	assistant director (uncredited)
Florence Malraux	....	assistant director (uncredited)
Georges Pellegrin	....	assistant director (uncredited)

Art Department
René Ferracci	....	poster designer (uncredited)

Camera and Electrical Department
Claude Beausoleil	....	camera operator (uncredited)
Raymond Cauchetier	....	still photographer (uncredited)
Fernand Coquet	....	electrician (uncredited)

Other crew
Suzanne Schiffman	....	script supervisor (uncredited)

Production Companies

• Les Films du Carrosse
• Sédif Productions (as S.E.D.I.F.)

Distributors

• Cinédis (1962) (France) (theatrical)
• MK2 Diffusion (2000) (France) (theatrical) (re-release)
• MK2 Éditions (2001) (France) (DVD) (special edition)
• Concorde Filmverleih (1985) (West Germany) (theatrical) (re-release)
• Gala Film Distributors (1962) (UK) (theatrical)
• Slovenska Kinoteka (2004) (Slovenia) (theatrical)
• Suomi-Filmi (1962) (Finland) (theatrical)
• AV Channel (2003) (Australia) (DVD)
• Alliance Atlantis Home Video (2005) (Canada) (DVD)
• Alpha Filmes (Brazil) (VHS)
• Altomedia. Co. Ltd. (Korea) (DVD)
• Atlantic Film (2007) (Sweden) (DVD)
• BIM Distribuzione (2006) (Italy) (DVD)
• Ciné Vog Films (Belgium)
• Concorde Home Entertainment (2004) (Germany) (DVD)
• Criterion Collection, The (2005) (USA) (DVD)
• Criterion Collection, The (2010) (USA) (DVD)
• Criterion Collection, The (USA) (laserdisc)
• Fox Lorber (USA) (DVD)
• Fox Lorber (USA) (VHS)
• Future Film (2008) (Finland) (DVD)
• Janus Films (1962) (USA) (subtitled)
• Kinowelt Home Entertainment (1996) (Germany) (VHS)
• Mainostelevisio (MTV) (1970) (Finland) (TV)
• Panorama Distributions (2003) (Hong Kong) (DVD)
• Panorama Distributions (2013) (Hong Kong) (DVD) (Blu-ray)
• Sunar Film (Turkey)
• Umbrella Entertainment (2003) (Australia) (DVD)
• YLE Teema (2008) (Finland) (TV)
• Yleisradio (YLE) (1989) (Finland) (TV)

Other Companies

• Les Films de la Pléiade  archive footage source (as Les Films de la Pleïade)
• Service Cinématographique de l'Armée  archive footage source
• Studios Marignan  sound recording (as Studio Marignan)
• Éditions Gallimard  book publisher

Also Known As:

"Jules et Jim" - France (original title)

Runtime:

105 min

Country:

France

Language:

French | German | English

Color:

Black and White

Aspect Ratio:

2.35 : 1

Sound Mix:

Mono

Certification:

Australia:M | Finland:K-16 | France:U | Hong Kong:IIA | Portugal:17 (original rating) | Sweden:15 | Sweden:7 (re-release: 2003) | UK:PG | West Germany:12 | Argentina:Atp | Australia:PG (DVD rating) | Portugal:M/12 (re-rating) (1975) | Portugal:M/16 (DVD re-rating) | South Korea:15 | Singapore:PG | USA:Not Rated

Filming Locations:

Alpes-Maritimes, France

Company:

Les Films du Carrosse

Trivia:

Oskar Werner was cast because François Truffaut wanted someone who spoke French with a slow delivery.

Goofs:

Continuity: When Jim arrives by train at Jim and Catherine's house in Germany, a shot from the air depicts a French (SNCF) train. When the train arrives in the station in the next shot, the SNCF logo is hidden from sight.

Quotes:

Catherine:Watch us well, Jules!

Movie Connections:

Referenced in Vivre Sa Vie (1962)

Soundtrack:

Le Tourbillon

art isn't about "identification"

Why do so many people need to "get into the characters" "care about the characters" "identify with the characters", to enjoy or appreciate a great film? I think it's a type of selfishness, as shallow as the urge to reject an outcome one doesn't like. Examples: "I know it's good; but the ending was too down" (Lolita), or a woman I once heard criticize Unbearable Lightness of Being because one of the main characters is a womanizer who doesn't repent or have justice rendered to him. Ironically, in Jules and Jim, we see a woman who is a "manizer" whom some viewers are appalled or put off by).

Jules and Jim features three characters whose unrealism is beyond question - Truffaut himself might comment on how Catherine fascinated the other two, but I doubt very much he would claim any of the three to be "realistic". I think the whole thing is a fable, and therefore the three are more like archetypes. The beauty isn't really the story, but HOW the story unfolds, and, most importantly how it is told VISUALLY: the breeziness interrupted by dramatic outbursts (flames, jumping into the river, death by drowning), the exploration of love as a fleeing of tediousness and predictability, the hinting (yes there is a type of love between Jules and Jim, though not a homo erotic one) that friendship is always deeper than romantic love, the beautiful flowing and editing of sequences, for example: where all three go bicycling in the country.

The duty of film is to tell a story in moving images, to take advantage of the things that specifically make cinema different from drama or literature - moving the spectator about in space and time, which cannot be done in any other art form in quite the same way. But nothing about this movie is conventional, and people looking for "resolution", or a someone getting their comeuppances, or even a character learning more about himself must look elsewhere for gratification.