Jules and Jim


Drama / Romance

IMDb Rating 7.8 10 33425


Uploaded By: FREEMAN
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May 01, 2019 at 02:54 AM


Jeanne Moreau as Catherine
Oskar Werner as Jules
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879.7 MB
24 fps
1hr 45 min
P/S 1 / 8
1.67 GB
24 fps
1hr 45 min
P/S 1 / 13

Movie Reviews

Reviewed by the red duchess 10 / 10

A breathless film about time.

Time and revisionist critics have tried to tarnish the gleam of Truffaut's final masterpiece - citing its apparent misogyny and apoliticism; but for some of us, 'Jules et Jim' is the unforgettable film that opened the gates to both European film, and the great masters of American cinema like Hitchcock, Hawks and Ray.

'Jules et Jim' is, along with 'Citizen Kane', THE vindication of the pleasures of cinematic form: the first half especially, in its rush of narrative registers and technical exuberance, is unparalleled in modern film. This isn't mere trickery - the use of paintings, books, plays, dreams, conversations, documentary footage, etc., as well as the different ways of telling a story through film, all point to the movie's theme - how do you represent people and the world in art without destroying them? Or is art the only to save people and life from extinction?

The foregrounding of theatricality, acting, disguises, pseudonyms, games, works-within-the-work, all point to the high modernism in which the film is set, when the old certainties about identity and place were being destroyed by the Great War. In fact the film could be considered Cubist in the way it uses film form to splice up and rearrange images, space, characters, viewpoints.

Truffaut's film is a beautiful elegy about time: the historical time heading towards destruction in the shape of the Nazis, and the circular time of love, obsession and art. These times struggle in the film's structure, history zipping past years in the framing, Parisian sections, and days stretching out interminably in the central rural rondelay.

Far from being misogynistic, the film places Catherine's speech about 'grains of sand' at its philosophical heart. AND she's played by Jeanne Moreau, the most honest and human of all great actresses.

Reviewed by adrian290357 10 / 10

One of the most inspired films ever

Truffaut is one of my favourite directors and Jules et Jim one of my favourite films. As Jeanne Moreau recalls in an interview re her relationship with Truffaut at the time (they were briefly in love), this was a movie no one wanted to finance, that she had to help finance herself with money she had just scored from her latest film success (even her car was used to carry sets and other filming equipment) and which depended to a large extent on conditions on the ground and inspiration on the part of all, especially Truffaut, at any given time.

Thus, creation happened as inspiration came to Truffaut, Moreau and the crew and as Moreau remarks, the whole movie feels and flows like a song (she does sing the theme song, rather well at that too!).

Jules and Jim are star crossed friends. They have similar tastes and are ready to do anything for each other but being German and French they end up on different trenches in the war. They have imagined and then seen the bust of the ideal feminine beauty and and proceed to look for her in every nook and cranny, ultimately finding her in the shape of Moreau at a function.

Moreau is luminous in her role as Catherine that would have earned her permanent recognition if she had done nothing else. She is not just beautiful or alluring - she is Woman itself in all its complexities, falling in and out of love, holding on or letting go as is her wanton. There is a moment in the film when she does not get the attention of the two men because they are playing a game and immediately she demands attention and does not stop until she gets it.

Truffaut said on more than one occasion that his relationship with his mother (a rather distant one, reportedly) had had an impact on his relationship with other women but in Jules et Jim he is able to portray the female of the species with a depth and an understanding such as I had never witnessed before or have since.

Truffaut's direction is peerless in its acuity and sensitivity, and it is greatly aided by some of the loveliest photography ever. In addition, he extracts superlative performances from all three leads. Oskar Werner's performance is deft beyond words. Henri Serre reminds me of Daniel Day-Lewis with a steely performance to match.

As art lovers, they fall in love with a bust of a woman and look for her until they find Catherine. Is this Catherine an echo of Cathy in Wuthering Heights? Serre might be the Heathcliff while Werner sounds more like an undecided Hamlet knowing he cannot hang on to his Ophelia. The passions at work in the film more than match that of the Bronte novel's characters and, of course, that of the lukewarm Dane.

As lovers of the flesh, Jim has a child by Catherine and Jules her love - but it carries a price. The ending is a subtle mix of irony, sadness, insightful observation and even a touch of the clownish with an unsuitably dressed Jim walking away with the ashes of his beloved lover and friend... much as Hamlet might have walked away with a skull or two.

There is a lyrical quality to this film that I believe has never been surpassed. Judging from Woody Allen's "Vicky Cristina Barcelona" -- which borrows shamelessly from the ideas of "Jules et Jim" -- it will take real genius and a many months of sustained inspiration to surpass it. Given the current never ending supply of mass produced flicks, I doubt it will ever be matched let alone surpassed...

"Jules et Jim" is a most intelligent film and a privilege to watch. If it were down to me, it would score 11 out of 10.

Reviewed by willtato 10 / 10

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.

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