Tuesday 2 December 2008

Jules and Jim (Jules et Jim) [1962]

--> -->Jules and Jim, legendary French auteur Francois Truffaut’s third film, is considered to be one of the seminal works of the French Nouvelle Vague movement, and rated by many as his greatest masterpiece. Even though there’s no doubting the movie’s artistic merit, to me it didn’t manage to attain the magnificent glory of his first two features – The 400 Blows and Shoot the Piano Player, the latter being my personal Truffaut favourite. A classic treatise on the free-love movement, the movie focuses on the memorable friendship of its two eponymous character – Jules, a shy German guy, and Jim, an extroverted Frenchman, and their destructive love for Catherine, a thoroughly enigmatic and free-spirited lady, “the real woman”. The movie is as famous for its non-conformist spirit and tragic aftermaths of the protagonists' ménage à trois, as it is for its innovative approach on the technical front. Though never Godardian in its execution, it still manages to achieve a level of technical virtuosity through its subtle usage of such iconic techniques as freeze frames, jump cuts, handheld camera movements et al.

Director: Francois Truffaut
Genre: Drama/Romance/Buddy Film/Avant Garde
Language: French
Country: France


Anonymous said...

I also love the film, but my personal favorite is the former of the pair you mentioned :)

Shubhajit said...

I'm sure you have a huge company in that regard... perhaps more than I have :)

Anonymous said...

Hey, I would have given this 4 and a half stars, and the 400 Blows 5. But that's why we're all different.

Shubhajit said...

Yeah, I guess. But what about Shoot the Piano Player, the movie I gave 5 stars?

Adrenaline and all that Jazzz said...

I don’t know why Truffaut had that girl in the film, at the start and then at the end, who used to flirt with everyone, and mimic a train engine all through.

Shubhajit said...

If I remember correctly, she was the same girl who starred in the brilliant Godard film Band a Part. I'm sure Truffaut did refer to some movie or pop culture moment or person with her character, though I too didn't get it. Of course, being a New Wave film, it could have been a Godardian red herring as well. I too am looking for some illumination on that.