Jules and Jim (1962)
Jules and Jim (1962)
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as Albert's Friend
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Critic Reviews for Jules and Jim
More than 40 years old, François Truffaut's whirling dervish remains an ageless beauty.
With this 1961 film Truffaut comes closest to the spirit and sublimity of his mentor, Jean Renoir, and the result is a masterpiece of the New Wave.
Truffaut's third film may not look the masterpiece it seemed 40-odd years ago, but it remains one of his most enjoyable movies.
There is joy in the filmmaking that feels fresh today and felt audacious at the time.
To put it quickly and crisply, it is charming, exciting and sad.
Audience Reviews for Jules and Jim
A breath of fresh air for its time, Jules and Jim now remains an admirably-constructed and well-acted, but far too repetitive love triangle movie.
I liked this movie, and I enjoyed watching it, but I was left expecting more. As part of the French New Wave, I knew to expect this film to be overflowing with style and technique, but I also expected it to be fun. Maybe I shouldn't have been so insistant on that last part. This film is fun, at times, but it gets serious too, and when it does, I find it harder to swallow. Maybe because it's hard to completely identify with or care deeply about the characters. This story is all about an Austrian named Jules who is friends with a French guy named Jim. They share a mutual love for a (probably bi polar) woman named Catherine. The story takes place over a coupkel of decades from the 1910s to the 1930s, and hops all over Europe (mostly France and Germany). I don't mind love triancgle movie, but the way the story progresses seemed very odd and all over the place and unlkely. Also, this is a period piece, but I never really got that sense. It seemed more like the time it was released than the time it was supposed to be portraying. Because this film is style over substance, and because the characters are nuts, ridiculous, and hard to identify with ocmpletely, I should, by all rights, knock this down a notch or two. However, the film has a gorgeous look, great camera work, wonderful music, good performances, and the aforementioned style, so there. I do recommend this movie, despite it being overrated. Part of its importance and legacy and undeniable and understandable, but this film is a bit of a mess. It's not always apparent though since often this film is light, breezy, and not restricted by a super dense plot. See it, but don't expect it to be the masterpiece that many claim it to be.
Frenetic, fresh, and still fun to watch even as it approaches it's fiftieth birthday. While certainly the most stylish of the New Wave films that I have seen so far, the frequent use of freeze frames, jump cuts, and panning shots, surprisingly isn't distracting. In fact, Trauffaut's use of these devices is very judicious and really elevates the film as a whole. This sets the work apart from films such as Goddard's Breathless where it seemed at times that many of the devices used in the film were used because they were "cool" or different, rather than augment the power of the story. It is a dynamic rumination on friendship, love, war, and the changing nature of femininity, and certainly one not to be missed.
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