IMDb RATING
7.7/10
43K
YOUR RATING
Decades of a love triangle concerning two friends and an impulsive woman.Decades of a love triangle concerning two friends and an impulsive woman.Decades of a love triangle concerning two friends and an impulsive woman.
IMDb RATING
7.7/10
43K
YOUR RATING
- Director
- Writers
- Henri-Pierre Roché(novel)
- François Truffaut(adaptation and dialogue)
- Jean Gruault(adaptation and dialogue)
- Stars
- Director
- Writers
- Henri-Pierre Roché(novel)
- François Truffaut(adaptation and dialogue)
- Jean Gruault(adaptation and dialogue)
- Stars
- Nominated for 2 BAFTA Awards
- 3 wins & 5 nominations total
Oskar Werner
- Jules
- (as Oscar Werner)
Serge Rezvani
- Albert
- (as Bassiak)
Michel Subor
- Récitant
- (voice)
- …
Danielle Bassiak
- Compagnon d'Albert
- (uncredited)
Elen Bober
- Mathilde
- (uncredited)
Pierre Fabre
- Ivrogne in Cafe'
- (uncredited)
Dominique Lacarrière
- Une des femmes
- (uncredited)
Bernard Largemains
- Merlin
- (uncredited)
Kate Noelle
- Birgitta
- (uncredited)
Jean-Louis Richard
- Cliente au Cafe'
- (uncredited)
Michel Varesano
- Cliente au Cafe'
- (uncredited)
Christiane Wagner
- Helga
- (uncredited)
- Director
- Writers
- Henri-Pierre Roché(novel)
- François Truffaut(adaptation and dialogue)
- Jean Gruault(adaptation and dialogue)
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaHenri-Pierre Roché's original novel was based on his own experiences as a young man. The original Catherine was still alive when the film was released and even attended the premiere incognito.
- GoofsAround the 35th minute, a train is shown. It is supposed to be just after WWI (the girl, Sabine, is very young), but the train is marked SNCF. The SNCF was founded in 1937... Many years afterwards.
- ConnectionsFeatured in Las dos Elenas (1965)
Featured review
A breathless film about time.
Time and revisionist critics have tried to tarnish the gleam of Truffaut's final masterpiece - citing its apparent misogyny and apoliticism; but for some of us, 'Jules et Jim' is the unforgettable film that opened the gates to both European film, and the great masters of American cinema like Hitchcock, Hawks and Ray.
'Jules et Jim' is, along with 'Citizen Kane', THE vindication of the pleasures of cinematic form: the first half especially, in its rush of narrative registers and technical exuberance, is unparalleled in modern film. This isn't mere trickery - the use of paintings, books, plays, dreams, conversations, documentary footage, etc., as well as the different ways of telling a story through film, all point to the movie's theme - how do you represent people and the world in art without destroying them? Or is art the only to save people and life from extinction?
The foregrounding of theatricality, acting, disguises, pseudonyms, games, works-within-the-work, all point to the high modernism in which the film is set, when the old certainties about identity and place were being destroyed by the Great War. In fact the film could be considered Cubist in the way it uses film form to splice up and rearrange images, space, characters, viewpoints.
Truffaut's film is a beautiful elegy about time: the historical time heading towards destruction in the shape of the Nazis, and the circular time of love, obsession and art. These times struggle in the film's structure, history zipping past years in the framing, Parisian sections, and days stretching out interminably in the central rural rondelay.
Far from being misogynistic, the film places Catherine's speech about 'grains of sand' at its philosophical heart. AND she's played by Jeanne Moreau, the most honest and human of all great actresses.
'Jules et Jim' is, along with 'Citizen Kane', THE vindication of the pleasures of cinematic form: the first half especially, in its rush of narrative registers and technical exuberance, is unparalleled in modern film. This isn't mere trickery - the use of paintings, books, plays, dreams, conversations, documentary footage, etc., as well as the different ways of telling a story through film, all point to the movie's theme - how do you represent people and the world in art without destroying them? Or is art the only to save people and life from extinction?
The foregrounding of theatricality, acting, disguises, pseudonyms, games, works-within-the-work, all point to the high modernism in which the film is set, when the old certainties about identity and place were being destroyed by the Great War. In fact the film could be considered Cubist in the way it uses film form to splice up and rearrange images, space, characters, viewpoints.
Truffaut's film is a beautiful elegy about time: the historical time heading towards destruction in the shape of the Nazis, and the circular time of love, obsession and art. These times struggle in the film's structure, history zipping past years in the framing, Parisian sections, and days stretching out interminably in the central rural rondelay.
Far from being misogynistic, the film places Catherine's speech about 'grains of sand' at its philosophical heart. AND she's played by Jeanne Moreau, the most honest and human of all great actresses.
helpful•9144
- the red duchess
- Jul 12, 2001
Details
- Release date
- Country of origin
- Languages
- Also known as
- Jules und Jim
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Gross US & Canada
- $509
- Opening weekend US & Canada
- $11,206
- Apr 25, 1999
- Gross worldwide
- $446,908
- Runtime1 hour 45 minutes
- Color
- Sound mix
- Aspect ratio
- 2.35 : 1
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