It may feel like throuples are a distinctly modern romantic arrangement – but this couldn’t be further from the case.
In fact, consensual non-monogamy, such as a ménage à trois, goes back centuries. It can even be found in the bible.
Recently, David Haye has been the subject of speculation surrounding his private life, with fans claiming that the ex-boxer is in a three-way relationship with model Sian Osborne and The Saturdays singer Una Healy.
On Valentine’s Day, Haye appeared to confirm the rumours, with Healy also sharing a coy message on Instagram alluding to the relationship.
When it comes to depictions of polyamorous relationships in film and TV, good examples have traditionally been few and far between.
But that’s not to say there haven’t been any – from pre-code classics to modern indie dramas, there are plenty of films and TV series which place the spotlight on...
In fact, consensual non-monogamy, such as a ménage à trois, goes back centuries. It can even be found in the bible.
Recently, David Haye has been the subject of speculation surrounding his private life, with fans claiming that the ex-boxer is in a three-way relationship with model Sian Osborne and The Saturdays singer Una Healy.
On Valentine’s Day, Haye appeared to confirm the rumours, with Healy also sharing a coy message on Instagram alluding to the relationship.
When it comes to depictions of polyamorous relationships in film and TV, good examples have traditionally been few and far between.
But that’s not to say there haven’t been any – from pre-code classics to modern indie dramas, there are plenty of films and TV series which place the spotlight on...
- 2/15/2023
- by Louis Chilton
- The Independent - Film
The French New Wave classic chronicles the lives of two men and the dangerous object of their affections
François Truffaut’s Jules et Jim from 1962 is the love triangle that feels like it’s happening in the swinging 60s present moment, like Godard’s triple-header Bande à Part. Actually, it’s set before and after the first world war, and the three principals finally reunite by bumping into each other at a Paris cinema showing a newsreel about the Nazis’ book-burning.
Appropriately for this film’s internationalist ethos, neither male hero has a homeland-appropriate name. Oskar Werner is Jules, a diffident young Austrian living in 1912 Paris: scholar, translator and Francophile. He befriends the rather more worldly Frenchman Jim, the journalist and would-be author played by Henri Serre. They are instantly as thick as thieves, a couple of jaunty swells and elegant flâneurs, devoted to art and avowedly uninterested in money – though each,...
François Truffaut’s Jules et Jim from 1962 is the love triangle that feels like it’s happening in the swinging 60s present moment, like Godard’s triple-header Bande à Part. Actually, it’s set before and after the first world war, and the three principals finally reunite by bumping into each other at a Paris cinema showing a newsreel about the Nazis’ book-burning.
Appropriately for this film’s internationalist ethos, neither male hero has a homeland-appropriate name. Oskar Werner is Jules, a diffident young Austrian living in 1912 Paris: scholar, translator and Francophile. He befriends the rather more worldly Frenchman Jim, the journalist and would-be author played by Henri Serre. They are instantly as thick as thieves, a couple of jaunty swells and elegant flâneurs, devoted to art and avowedly uninterested in money – though each,...
- 2/2/2022
- by Peter Bradshaw
- The Guardian - Film News
20. Love/Chloe in the Afternoon (1972)
Directed by: Éric Rohmer
Originally titled “Love in the Afternoon,” but released in North America as “Chloe in the Afternoon,” this Rohmer film is a tale of possible infidelity, seen through the eyes of a conflicted man. Frédéric (Bernard Verley) is a successful young lawyer who is happily married to a teacher named Hélène (Françoise Verley), who is pregnant with their second child. While Frédéric is in a considerably good place in his life, he still struggles with the loss of excitement he had before he married, when he could sleep with whomever he chose. It wasn’t so much the sex that thrilled him, but the chase itself. Still, he feels that these thoughts and fantasies, paired with his refusal to act upon them, only proves that he is completely dedicated and in love with his own wife. That is, until he meets Chloé...
Directed by: Éric Rohmer
Originally titled “Love in the Afternoon,” but released in North America as “Chloe in the Afternoon,” this Rohmer film is a tale of possible infidelity, seen through the eyes of a conflicted man. Frédéric (Bernard Verley) is a successful young lawyer who is happily married to a teacher named Hélène (Françoise Verley), who is pregnant with their second child. While Frédéric is in a considerably good place in his life, he still struggles with the loss of excitement he had before he married, when he could sleep with whomever he chose. It wasn’t so much the sex that thrilled him, but the chase itself. Still, he feels that these thoughts and fantasies, paired with his refusal to act upon them, only proves that he is completely dedicated and in love with his own wife. That is, until he meets Chloé...
- 12/2/2014
- by Joshua Gaul
- SoundOnSight
Marie Dubois, actress in French New Wave films, dead at 77 (image: Marie Dubois in the mammoth blockbuster 'La Grande Vadrouille') Actress Marie Dubois, a popular French New Wave personality of the '60s and the leading lady in one of France's biggest box-office hits in history, died Wednesday, October 15, 2014, at a nursing home in Lescar, a suburb of the southwestern French town of Pau, not far from the Spanish border. Dubois, who had been living in the Pau area since 2010, was 77. For decades she had been battling multiple sclerosis, which later in life had her confined to a wheelchair. Born Claudine Huzé (Claudine Lucie Pauline Huzé according to some online sources) on January 12, 1937, in Paris, the blue-eyed, blonde Marie Dubois began her show business career on stage, being featured in plays such as Molière's The Misanthrope and Arthur Miller's The Crucible. François Truffaut discovery: 'Shoot the...
- 10/17/2014
- by Andre Soares
- Alt Film Guide
The French New Wave, that cinematic movement from the 1960s that essentially defined iconoclasm for film, has undoubtedly had its impact on nearly everything, from film to music to style. And given its indelible impact on cultural history, it’s one of the easiest artistic movements to pull from, as demonstrated from three key music videos inspired by, ripped off from, and celebrating the auteurs from Godard to Truffaut.
“Dancing with Myself” – Nouvelle Vague
There’s a bit of irony and wordplay going on here. First, the band’s name is Nouvelle Vague, nodding to both the French New Wave and the New Wave in music during the 1980s. Then there’s the name of the album that the French cover band chose to use: Bande à Part, from the Jean-Luc Godard film of the same name. Then there’s the actual music video. Rather than go about “creating” a music video for their single,...
“Dancing with Myself” – Nouvelle Vague
There’s a bit of irony and wordplay going on here. First, the band’s name is Nouvelle Vague, nodding to both the French New Wave and the New Wave in music during the 1980s. Then there’s the name of the album that the French cover band chose to use: Bande à Part, from the Jean-Luc Godard film of the same name. Then there’s the actual music video. Rather than go about “creating” a music video for their single,...
- 8/10/2014
- by Kyle Turner
- SoundOnSight
Jules and Jim
Directed by François Truffaut
Written by François Truffaut and Jean Gruault
France, 1962
In François Truffaut’s debut feature, The 400 Blows, widely seen as the flagship production of the French Nouvelle Vague, or “New Wave,” he was able to convey a representation of youth in a very specific era and, at that time, in a very unique way. Autobiographical as the 1959 film was, it also featured a notable vitality and honesty, two traits that would distinguish several of these French films from the late 1950s and into the ’60s. While The 400 Blows was an earnest and refreshing portrayal of adolescence, in some ways, Truffaut’s 1962 feature, Jules and Jim, his third, feels even more youthful, in terms of stylistic daring and energetic exuberance. Though dealing with adults and serious adult situations, Jules and Jim exhibits a formal sense of unbridled glee, with brisk editing, amusing asides,...
Directed by François Truffaut
Written by François Truffaut and Jean Gruault
France, 1962
In François Truffaut’s debut feature, The 400 Blows, widely seen as the flagship production of the French Nouvelle Vague, or “New Wave,” he was able to convey a representation of youth in a very specific era and, at that time, in a very unique way. Autobiographical as the 1959 film was, it also featured a notable vitality and honesty, two traits that would distinguish several of these French films from the late 1950s and into the ’60s. While The 400 Blows was an earnest and refreshing portrayal of adolescence, in some ways, Truffaut’s 1962 feature, Jules and Jim, his third, feels even more youthful, in terms of stylistic daring and energetic exuberance. Though dealing with adults and serious adult situations, Jules and Jim exhibits a formal sense of unbridled glee, with brisk editing, amusing asides,...
- 2/7/2014
- by Jeremy Carr
- SoundOnSight
I don't remember the first time I watched Fran?ois Truffaut's Jules and Jim, but I remember appreciating it though not loving it. Watching it again on Criterion's new Blu-ray release (buy it here) I feel a greater level of respect, but the film almost feels clinical to me more than anything else. As Truffaut tells the story of a love triangle between Jules (Oskar Werner), Jim (Henri Serre) and the free-spirited Catherine (Jeanne Moreau) I couldn't help but feel that each scene is a masterclass in filmmaking, though almost to a fault. Frequently cited as one of the best films ever made, and I assume many would argue Truffaut's best film, though I'm sure admirers of The 400 Blows would beg to differ, Jules and Jim is an adaptation of Henri-Pierre Roche's novel, which Truffaut clearly adored as evidenced by the multitude of interview segments included on this disc.
- 2/6/2014
- by Brad Brevet
- Rope of Silicon
Dallas Buyers Club Pretty solid week of new releases starting with one of the better films of 2013 and one we're sure to be talking about more leading up to the Oscars, Dallas Buyers Club featuring a pair of great performances from Matthew McConaughey and Jared Leto and a strong performance from Jennifer Garner as well.
About Time Richard Curtis' About Time is one of the year's better romantic comedies along with the likes of Best Man Holiday. I'm sure there was at least one more, but those are the two that come to mind and with the unlikely pairing of Rachel McAdams and Domhnall Gleeson the movie comes as a nice little surprise. Oh, and it has The Wolf of Wall Street star Margot Robbie. So, that's a little bonus.
Jules and Jim (Criterion Collection) I still need to dig into this new Blu-ray edition of Francois Truffaut's Jules and Jim,...
About Time Richard Curtis' About Time is one of the year's better romantic comedies along with the likes of Best Man Holiday. I'm sure there was at least one more, but those are the two that come to mind and with the unlikely pairing of Rachel McAdams and Domhnall Gleeson the movie comes as a nice little surprise. Oh, and it has The Wolf of Wall Street star Margot Robbie. So, that's a little bonus.
Jules and Jim (Criterion Collection) I still need to dig into this new Blu-ray edition of Francois Truffaut's Jules and Jim,...
- 2/4/2014
- by Brad Brevet
- Rope of Silicon
“Truffaut’s Gift”
By Raymond Benson
It’s not only my favorite Francois Truffaut film, but it’s also my favorite French New Wave picture. While Godard’s Breathless is often cited as the quintessential French New Wave movie—and it is indeed a hallmark of the movement—for me it’s Jules and Jim that fully represents that important development in cinema history. It contains all the recognizable stylistic and thematic qualities that those French upstarts brought to their films (what? French critics becoming filmmakers? How dare they!), but it’s also a darned good story with wonderful performances by its three leads. And while the movie ends on a bittersweet, somewhat tragic note, Jules and Jim is really a feel-good movie because of the way Truffaut chose to tell the tale. The director has never shied away from pathos and sentimentality—something the filmmaker was very good at...
By Raymond Benson
It’s not only my favorite Francois Truffaut film, but it’s also my favorite French New Wave picture. While Godard’s Breathless is often cited as the quintessential French New Wave movie—and it is indeed a hallmark of the movement—for me it’s Jules and Jim that fully represents that important development in cinema history. It contains all the recognizable stylistic and thematic qualities that those French upstarts brought to their films (what? French critics becoming filmmakers? How dare they!), but it’s also a darned good story with wonderful performances by its three leads. And while the movie ends on a bittersweet, somewhat tragic note, Jules and Jim is really a feel-good movie because of the way Truffaut chose to tell the tale. The director has never shied away from pathos and sentimentality—something the filmmaker was very good at...
- 2/1/2014
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Blu-ray & DVD Release Date: Feb. 4, 2014
Price: Blu-ray/DVD Combo $39.95
Studio: Criterion
Hailed as one of the finest films ever made, the 1962 drama-romance Jules and Jim charts, over twenty-five years, the relationship between two friends and the object of their mutual obsession.
The legendary François Truffaut (The 400 Blows) directs, and Jeanne Moreau (La Notte) stars as the alluring and willful Catherine, whose enigmatic smile and passionate nature lure Jules (The Spy Who Came in from the Cold’s Oskar Werner) and Jim (The Fire Within’s Henri Serre) into one of cinema’s most captivating romantic triangles.
An exuberant and poignant meditation on freedom, loyalty, and the fortitude of love, the classic Jules and Jim was a worldwide smash a half-century ago and remains every bit as audacious and entrancing today.
Presented in French with English subtitles, Criterion’s Blu-ray/DVD Combo of Jules and Jim includes the following features:
• New 2K digital restoration,...
Price: Blu-ray/DVD Combo $39.95
Studio: Criterion
Hailed as one of the finest films ever made, the 1962 drama-romance Jules and Jim charts, over twenty-five years, the relationship between two friends and the object of their mutual obsession.
The legendary François Truffaut (The 400 Blows) directs, and Jeanne Moreau (La Notte) stars as the alluring and willful Catherine, whose enigmatic smile and passionate nature lure Jules (The Spy Who Came in from the Cold’s Oskar Werner) and Jim (The Fire Within’s Henri Serre) into one of cinema’s most captivating romantic triangles.
An exuberant and poignant meditation on freedom, loyalty, and the fortitude of love, the classic Jules and Jim was a worldwide smash a half-century ago and remains every bit as audacious and entrancing today.
Presented in French with English subtitles, Criterion’s Blu-ray/DVD Combo of Jules and Jim includes the following features:
• New 2K digital restoration,...
- 11/19/2013
- by Laurence
- Disc Dish
This was taken on the set of Jules et Jim in 1962. The scene was an old-style French boxing match between Jules and Jim. Someone on the set turned a radio on in the break and it was playing one of Strauss's waltzes. The actors, Oskar Werner and Henri Serre, heard the music and in an instant the gym was transformed into a kind of village dance. Obviously there was the potential for a nice shot. The abandoned boxing glove, on the floor down to the right, looked like it might play a part, too, and I framed the picture accordingly.
This kind of photograph is uncontrollable, of course. You have to be ready, to anticipate, because by the time it takes for your brain to tell your finger to activate the shutter, the moment has gone. I love the balance in their gestures. But if you look at the contact...
This kind of photograph is uncontrollable, of course. You have to be ready, to anticipate, because by the time it takes for your brain to tell your finger to activate the shutter, the moment has gone. I love the balance in their gestures. But if you look at the contact...
- 12/2/2010
- by Jon Henley
- The Guardian - Film News
François Truffaut, 1962
Jules and Jim was the biggest box-office success the French New Wave ever enjoyed. When it opened in Paris in January 1962, it played for nearly three months and it found the same crowds all over the world. (In America, two young men saw it – Robert Benton and David Newman – and they began to write a script that would become Bonnie and Clyde.) Although set in the era of the first world war, its sexual manners were an indicator of the 60s to come, with Catherine (Jeanne Moreau) in love with and loved by two men (at least) – Jules, a German, played by Oskar Werner, and Jim, a Frenchman, played by Henri Serre.
The way Jules and Jim emerged was a tribute to Moreau and to Truffaut's obsession with the idea that women were magical. It's an early dramatisation of feminist principles, but it's also the portrait of a bipolar personality drawn to self-destruction.
Jules and Jim was the biggest box-office success the French New Wave ever enjoyed. When it opened in Paris in January 1962, it played for nearly three months and it found the same crowds all over the world. (In America, two young men saw it – Robert Benton and David Newman – and they began to write a script that would become Bonnie and Clyde.) Although set in the era of the first world war, its sexual manners were an indicator of the 60s to come, with Catherine (Jeanne Moreau) in love with and loved by two men (at least) – Jules, a German, played by Oskar Werner, and Jim, a Frenchman, played by Henri Serre.
The way Jules and Jim emerged was a tribute to Moreau and to Truffaut's obsession with the idea that women were magical. It's an early dramatisation of feminist principles, but it's also the portrait of a bipolar personality drawn to self-destruction.
- 10/16/2010
- by David Thomson
- The Guardian - Film News
Over the past several weeks, the concept of “double dipping” has been brought to a heated point amongst DVD and Blu-ray collectors and enthusiasts. Double-dipping refers to the practice that many home media distributors use when re-releasing titles, either with new materials, packaging, or on a new format. This has been done for years by almost every studio, and is hotly debated by fans who feel the internal struggle of wanting to please the completist within, while at the same time not wanting to be taken advantage of by those seeking to milk a property as long as possible.
Last week we saw the long awaited Blu-ray release of the Lord of the Rings, a set that people have longed for ever since the high definition formats were announced. I know that personally, while the HD-DVD vs. Blu-ray format wars were still going on, the prospect of having Lord of...
Last week we saw the long awaited Blu-ray release of the Lord of the Rings, a set that people have longed for ever since the high definition formats were announced. I know that personally, while the HD-DVD vs. Blu-ray format wars were still going on, the prospect of having Lord of...
- 4/13/2010
- by Ryan Gallagher
- CriterionCast
This week, a few readers noted on my Facebook page that I had been away from Pajiba for a while. The story of my absence is not a particularly entertaining one, as I was simply bogged down with various types of school work and a Ta assignment for a European Film History class. I had originally thought about typing up one review a week based on the class screenings, yet my eyes proved to be too big for my stomach. So, in the midst of my spring break, I've decided to strike a conservative compromise: I'll write up one review of one film screened in class, François Truffaut's French New Wave masterpiece Jules and Jim (Jules et Jim, 1962).
While I already highlighted some of the historical and theoretical concerns of New Wave in my review of Jean-Luc Godard's Contempt, this is arguably the more relevant place to offer up a summary.
While I already highlighted some of the historical and theoretical concerns of New Wave in my review of Jean-Luc Godard's Contempt, this is arguably the more relevant place to offer up a summary.
- 3/25/2010
- by Drew Morton
Jeanne Moreau, Henri Serre, Oskar Werner in François Truffaut’s Jules et Jim In June, Turner Classic Movies‘ month-long series "Great Directors" will be celebrating the efforts of 52 films directors, from past and present, from Hollywood and overseas (though, as to be expected, mostly Hollywood). Among TCM’s "greats" are, inevitably, Alfred Hitchcock, Orson Welles, Billy Wilder, Steven Spielberg, and John Ford, but also Jacques Tourneur, Mervyn LeRoy, and Budd Boetticher. Akira Kurosawa, Federico Fellini, Carol Reed, and Ingmar Bergman are four of the non-Hollywood filmmakers who have been included in the series. Each weekday of the "Great Directors" series will feature two directors — one during the day; the other at night. The daytime lineup includes Victor Fleming (June 2), Fritz Lang (June 8), John Huston (June 11), Jacques Tourneur (June 12), Robert Wise (June 16), Blake Edwards (June 19), Otto Preminger (June 23), David Lean (June 26) and Sidney Lumet (June 29). Weeknight primetime directors include John [...]...
- 4/22/2009
- by Andre Soares
- Alt Film Guide
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