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Jules and Jim (1962)

Jules et Jim (original title)
Not Rated | | Drama, Romance | 23 January 1962 (France)
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Decades of a love triangle concerning two friends and an impulsive woman.

Director:

François Truffaut

Writers:

Henri-Pierre Roché (novel), François Truffaut (adaptation) | 1 more credit »
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Nominated for 2 BAFTA Film Awards. Another 3 wins & 1 nomination. See more awards »

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Cast

Complete credited cast:
Jeanne Moreau ... Catherine
Oskar Werner ... Jules (as Oscar Werner)
Henri Serre ... Jim
Vanna Urbino Vanna Urbino ... Gilberte
Serge Rezvani Serge Rezvani ... Albert (as Bassiak)
Anny Nelsen Anny Nelsen ... Lucie
Sabine Haudepin Sabine Haudepin ... Sabine, la petite
Marie Dubois ... Thérèse
Michel Subor ... Récitant / Narrator (voice)
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Storyline

In pre-WWI Paris, two friends, Jules (Austrian) and Jim (French), fall in love with the same woman, Catherine. But Catherine loves and marries Jules. When they meet again in Germany after the war, Catherine starts to love Jim - This is the story of three people in love, a love that doesn't affect their friendship, and about how their relationship evolves with the years. Written by Yepok

Plot Summary | Plot Synopsis

Taglines:

A Hymn to Life and Love

Genres:

Drama | Romance

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

France

Language:

French | German | English

Release Date:

23 January 1962 (France) See more »

Also Known As:

Jules and Jim See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

The film is included on Roger Ebert's "Great Movies" list. See more »

Goofs

When Catherine lights the letters on fire, they are at first away from her dress, but in the next shot they are burning on top of her dress. See more »

Quotes

Jules: The most important factor in any relationship is the woman's fidelity. The husband's is secondary. Who was it who wrote, "Woman is natural, therefore abominable?"
Jim: Baudelaire, but he was describing a certain world.
Jules: Not at all. He spoke of women in general. What he says about a young girl is magnificent: "Horror, monster, assassin of the arts, little fool, little slut. The greatest idiocy combined with the greatest depravity." Wait. I'm not finished. This is marvelous: "I'm always astonished they...
[...]
See more »

Connections

Referenced in United States of Tara: Wheels (2011) See more »

Soundtracks

Le Tourbillon
Written by Serge Rezvani
Performed by Jeanne Moreau
Played at the guitar by Serge Rezvani
See more »

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User Reviews

 
art isn't about "identification"
4 March 2005 | by willtatoSee all my reviews

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.


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