I disliked Catherine in this, and I think it may be because of the over-exposure I've had to "manic pixie dream girls" in modern cinema. In the 1960s, I am sure Catherine seemed fiercely independent and genuinely unique. But nowadays I think I can only see her as a female character written by a man whose attempt at creating a free-sprited woman only made her come off as a forced caricature.
A personal touchstone that retains its magic 50 years after its release. http://eddieonfilm.blogspot.com/2011/04/vision-for-all-perhaps-not-meant-for.html
Every bit as inventive as the work of his Cahiers du Cinéma colleague, Jean-Luc Godard, while structurally akin to his cinematic idol, Jean Renoir, Truffaut's sublime third feature, Jules And Jim, is as near to a perfect film as is humanly possible. The considerable aspirations, and even greater accomplishments, of Truffaut's masterpiece are as astonishing now as they were in 1962.
Mais quel ennui ! Il y a de belles images et Jeanne Moreau, soit, mais pitié, la bande potes représentée ne donne pas envie de les fréquenter : des intellos qui parlent philo du matin au soir, une fille qui fait des gosses à droite à gauche, un mari qui accepte que sa femme le trompe avec son meilleur ami et qu'elle ait un enfant avec... Au secours ! C'est pas parce que c'est Truffaut que c'est un chef d'oeuvre...
In-depth review of the Criterion Collection edition of Jules and Jim: http://cinemauprising.blogspot.com/2008/12/jules-and-jim-criterion-collection.html
Perhaps another watch sometime later might be in order, but this really wasn't particularly captivating for me at all.
I can't put my finger on why exactly, but I haven't just straight up LOVED watching a movie like I loved watching this in a really long time.
A simple love triangle story made with quality acting, good story without being too melodramatic, and we can actually feel for each of the characters conflicts and sympathize them
a beautiful portrait of a love triangle (or perhaps even a quadrilateral for that matter). at first touching & cheerful, it quickly becomes an emotional roller coaster. a brilliant nouvelle vague film, one of my favorites, the cinematography is breathtakingly flawless. I could watch this film over and over for the emotions it draws out of me.
This film made me queasy. I guess it is because there is so much social commentary that lies under the surface with visuals that simply run in front of you at break neck speed that by the end of it you are aware of the fact that Truffaut wants to convey a lot but it is nauseating to try and figure out all of it.
Truffaut's bizarre love triangle and a true hallmark of the Nouvelle Vague. It's one of the most joyous yet saddest films I've seen. Truffaut's defining passionate style holds up, even as the 70s and 80s began to welcome nihilism as the cinema a la mode.
If you ever need an example of a film that screws itself over at the end, look no further than JULES & JIM.
One of my all time faves. The greatest love triangle film ever made. Wonderful script, cinematography and performances especially the wonderful Jeanne Moreau. Great editing choices and wonderful narration. Hard to pick a favourite Truffaut film but this one is certainly a nominee. So many wonderful scenes. Aces.
One of the greatest films ever made... and as an example of pure cinema, it's nearly flawless. The widescreen cinematography, the editing, and music all perfectly suit the story, and the acting is superb, especially by the iconic Jeanne Moreau.
Looks like I have an idea now where the film Amelie gets its some ideas... This film is simple but really effective. A breath of fresh air after so much Goddard film viewing...
J'ai déjà écrit ci-dessus mais c'est une merveille de parler de ce film -un film si beau, si touchant. Tout se conjugue pour faire de ce film un classique et, du même coup, un film de ce temps. La direction, les acteurs, l'histoire, le rythme, la musique, le noir et blanc et que dire de Jeanne Moreau, absolument magnique? Dès ce temps, que je suis tombée amoureuse de ce film.