François Truffaut read an autobiographical novel by Henri-Pierre Roché in his twenties when he worked as film critic.  He was so taken by this story that he kept it close to himself, and reread it several times.  It is evident that the story became very fluid to him, as the film displays a brilliance in its emotional gracefulness in how he confronted the many complexities within the story that he eventually got the ok to make.  Roché was delighted that his novel would be made into film, but never lived to see the film.  Nonetheless, Truffaut embraced the project with the same nurturing care that an oyster uses to handle a grain of sand and he made a film that touched the very essence of the audience, as many still regard Jules and Jim as one of the best films ever made.

The film opens with a montage from the whole film which is accompanied with a speedy and playful tune that carries some resemblance to circus music.  On top of this, montage text introduces the cast and filmmakers in a positive light that suggests that the audience is about to see something upbeat and pleasurable.  And what would not be more upbeat and pleasurable than love?  In this case, love will be dissected under the very lives of Jim (Henri Serre), a charming Frenchman, and the withdrawn Austrian Jules (Oskar Werner) who meet in Paris.  The Jules and Jim are both hopeful writers that begin to share much time together discussing and listening to each other with selfless patience.  They become best friends much like Don Quixote and Sancho Panza, as their friends begin to call them.

Together Jules and Jim begin to explore life and love, but Jules has a difficult time connecting with women while to Jim this art comes easy.  Rendezvous after rendezvous leads them into several affairs, but none serious enough to last.  In their continued pursuit of women the two men discuss life and art, as they encounter a magnificent statue in a private slide show.  The statue captivates both Jules and Jim who travel to the location of the statue to fully experience the beauty of the statue.  Upon their return from their brief quest for the statue they were still bewildered by the experience.  This state of mind was still affecting them as they were having three women over for dinner, and to their amazement one of them reminded them of the statue.

Catherine (Jeanne Moreau) is the girl whose smile brought the statue alive, and her presence spellbound Jules with love.  Initially, Catherine and Jules spend much time together while Jules continues to see Jim at their gym.  After a month of courtship Jules invites Jim to come visit Catherine, and it is clear that she is the most vibrant of the three.  She lives life while the two men simply spend most of their time discussing it.  Catherine is a free wind that loves the freedom of doing what she pleases, something that most people would consider unacceptable for a woman at the time of the story.  Yet, she has no care in the world for what others think, as she grabs the moment and does what she wishes.

Upon contemplation of Catherine's independency it is clear that some conflict will result out it, and especially if she were to get married, which she does with Jules.  Despite the looming conflict that most viewers will anticipate, the three try to rationally find a solution to their problem, which involves love, emotions, and time.  Catherine loves to be in the center of attention while the two men constantly look up to her, as some divine creation that both desire.  A vague distance exists between Catherine and the men, yet it is this distance that lures them to her.  This distance rests within her energy while the men simply try to be close to her in order to feel some of that alluring life that moves within her.

The 1960s became the decade when love and peace became the slogan for how freedom would prevail and Truffaut's film became what many tried to achieve.  The thought was wonderful while the journey through the thread of time with love and affection can both harness bliss and sorrow.  Yet, it is a journey that most people never wish to miss, and in Jules and Jim the audience gets a chance to witness one of these wonderful stories that does not hide anything.  The visual illustration is nothing but remarkably astounding, as Truffaut elevates the emotional manifestation of each scene through both terrific technical and aesthetic design.  In the end when Jules walks down the hill, Truffaut will have let the audience have thumbed through and felt the touch and gentle care for each pearl along the thread, and it bestows a magnificent gift grander than any prized possession in the world.

DIRECTED BY

COUNTRY

France

Filmography links and data courtesy of