Jules et Jim (1962)

Calificación de los usuarios:

7.9/10   

Director:

François Truffaut

Escritores:

Henri-Pierre Roché (novel)
François Truffaut (adaptation) ...

Fecha de Lanzamiento:

23 enero 1962 (France)

Género:

Drama | Romance

Plot:

Decades of a love triangle concerning two friends and an impulsive woman.

Plot Keywords:

Love | Friendship | Paris | Love Triangle | WWI

Premios:

Nominated for 2 BAFTA Film Awards. Another 3 wins

Comentarios de los usuarios:

art isn't about "identification"

Reparto

Jeanne Moreau	...	Catherine
Oskar Werner	...	Jules (as Oscar Werner)
Henri Serre	...	Jim
Vanna Urbino	...	Gilberte
Boris Bassiak	...	Albert (as Bassiak)
Anny Nelsen	...	Lucie
Sabine Haudepin	...	Sabine, la petite
Marie Dubois	...	Thérèse
Michel Subor	...	Récitant / Narrator (voice)

También conocida como:

Jules and Jim (UK) (USA)
Jules y Jim (Spain) [es]

Duración:

105 min

País:

France

Idioma:

Francés | Alemán | Inglés

Color:

Negro y Blanco

Relación de Aspecto:

2.35 : 1

Sonido:

Mono

Clasificación:

Argentina:Atp | Australia:PG (DVD rating) | Portugal:M/12 (re-rating) (1975) | Portugal:M/16 (DVD re-rating) | South Korea:15 | Singapore:PG | Australia:M | Finland:K-16 | France:U | Hong Kong:IIA | Portugal:17 (original rating) | Sweden:15 | Sweden:7 (re-release: 2003) | UK:PG | West Germany:12

Locaciones de Filmación:

Alpes-Maritimes, France

Compañía:

Les Films du Carrosse

Trivialidades:

In Jean-Luc Godard's picture Une femme est une femme (1961), Jeanne Moreau appears as herself. This becomes obvious because Jean-Paul Belmondo's character, while meeting her at a café, asks her: "How is 'Jules And Jim' coming?" Une femme est une femme (1961) was released in 1961, while Jules et Jim (1962) in 1962, but the reference exists because François Truffaut and Godard were friends at the time, and often collaborated in each others movies.

Errores:

Continuidad: When Catherine lights the letters on fire, they are at first away from her dress, but in the next shot they are burning on top of her dress.

Citas:

Jules: She's more optimistic than you where time's concerned. She was at the hairdresser's and and arrived at 8:00 to dine with you.
Jim: If I'd known she might still come, I'd have waited til midnight.

Conexiones de Película:

Referenced in Monogamie für Anfänger (2008) (TV)

Banda de Sonido:

Le Tourbillon

art isn't about "identification"

Why do so many people need to "get into the characters" "care about the characters" "identify with the characters", to enjoy or appreciate a great film? I think it's a type of selfishness, as shallow as the urge to reject an outcome one doesn't like. Examples: "I know it's good; but the ending was too down" (Lolita), or a woman I once heard criticize Unbearable Lightness of Being because one of the main characters is a womanizer who doesn't repent or have justice rendered to him. Ironically, in Jules and Jim, we see a woman who is a "manizer" whom some viewers are appalled or put off by).

Jules and Jim features three characters whose unrealism is beyond question - Truffaut himself might comment on how Catherine fascinated the other two, but I doubt very much he would claim any of the three to be "realistic". I think the whole thing is a fable, and therefore the three are more like archetypes. The beauty isn't really the story, but HOW the story unfolds, and, most importantly how it is told VISUALLY: the breeziness interrupted by dramatic outbursts (flames, jumping into the river, death by drowning), the exploration of love as a fleeing of tediousness and predictability, the hinting (yes there is a type of love between Jules and Jim, though not a homo erotic one) that friendship is always deeper than romantic love, the beautiful flowing and editing of sequences, for example: where all three go bicycling in the country.

The duty of film is to tell a story in moving images, to take advantage of the things that specifically make cinema different from drama or literature - moving the spectator about in space and time, which cannot be done in any other art form in quite the same way. But nothing about this movie is conventional, and people looking for "resolution", or a someone getting their comeuppances, or even a character learning more about himself must look elsewhere for gratification.