To mark the 25 anniversary of Truffaut’s death, WFC brings you Truffaut’s third film, recognised now and then as a defining film of French New Wave cinema. The story tells of a menage a trois. Two young writers, Jules (Werner), an Austrian, and Jim (Serre), a Frenchman, live a decadent lifestyle in pre WWI Europe they meet and fall in love with Catherine (Moreau) a mercurial free-spirit. As WWI starts the two men find themselves on opposing sides and their relationship is explored through this tension and the fact that Catherine marries one of them only to fall in love with the other. Ultimately she is unattainable.
Germaine Greer who saw the film in the 60s remarked Catherine seemed a woman after her own heart, following her desires rather than the rules. Jules et Jim is Moreau’s film, she delivers a signature performance which sealed early in her career her reputation as an outstanding actress. A lesser actress might have made Catherine seem mad or hysterical, Moreau makes her unpredictable and simply unwilling to comply with what is expected.
Jules et Jim is also a trademark Truffaut (Les Quatre Cents Coups, Farenheit 451, La Nuit Americaine) film with the characteristic style of fast cuts between scenes so that 25 years pass without seeming to linger and its fluid naturalistic camera movements which together came as a revelation to 1960s cinema audiences. It also typically focuses on relationships and unfaithfulness, and strong characterisation. Would the film have been better as a traditional narrative? Critics say not, rather Jules et Jim is one of those rare films that knows how fast its audience can think and how emotions contain their own explanations. (Roger Ebert).
Age has not withered Francois Truffauts 1962 masterpiece it remains as fresh, playful and enigmatic as ever. It is the cinematic equivalent of catching lightning in a bottle. Xan Brooks, The Guardian.
There is joy in the filmmaking that feels fresh today and felt audacious at the time. Roger Ebert, Chicago Sun-Times.
With this 1962 film Truffaut comes closest to the spirit and sublimity of his mentor Jean Renoir. Dave Kehr, Chicago Reader.
