Movie Title: Jules and Jim - Criterion Collection
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The Criterion edition is a enormous improvement over the Fox Lorber version. The report quality is vastly better, with far less grain and markedly finer resolution; the subtitles are also positioned less obtrusively. I was fearful by another reviewer’s claim that the represent ’shook’ - there was no shaking at all with my copy. The transfer was supervised and common by the director of photography for the film, Raoul Coutard, so it is hardly surprising that it looks good; in some of the darker scenes there is some flickering, but this is hardly a major bellow. I actually found the Fox Lorber print difficult and annoying to leer, while the Criterion is completely palatable, in fact better than prints I’ve seen at the cinema.

*

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Having seen the film itself several times, I have to admit that on first viewing its grand reputation was a bit baffling. My possess expectations had been defeated, as I was expecting a film which was at core ‘realist’. On subsequent viewings, it became great more rewarding, especially on encountering the thought that it is more a ‘fairy tale’ or, at least, a chronicle. When I stopped thinking of the film as ‘prose’ and allowed it to be appreciated as ‘poetry’, its spirit suddenly made sense. The style is truly new, and so inevitably preconceived expectations will be disappointed.

*

There is a pervasive light-hearted energy to the film, embodied in all aspects of its making, from the dancing camerawork, to the deft editing and roguish performances. And this provides a poignant difference to the themes explored, which deal with denser issues of commitment and allegiance. The characters might well be taken as representing larger ideas, such as national identity, but any symbolism is gestural and open-ended, so the film never feels preachy.

*

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The extras provided are extensive and give big insight into the surprising background of the film - it is based on a book which in turn is a distanced recollection of the author’s experience - so, in a sense, this is a ‘true’ anecdote - although its tone is, as Truffaut puts it in an interview, more like a nostalgic traipsing through an venerable photo album.

*

A truly attractive film, and the Criterion edition does it worthy service.

Francois Truffaut’s Jules et Jim was a very accepted art-house movie in the early sixties. The sad and white French (English subtitled) film follows the friendship of two college students in bohemian Paris beginning in 1912. They meet Catherine, a free spirit who loves to shock people as remarkable as she enjoys both men’s admire. She marries Jules, but is not delighted. They reunite with Jim and continue their adore triangle.

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Jeanne Moreau’s Catherine is eternally alluring, selfish, manipulating, and cruel. She is perfect as the siren who plays with men as a cat plays with a mouse. Oscar Werner gives a sympathetic performance as the idealistic and vulnerable Jules, who goes from carefree youth to heart-broken middle-age. Henri Serre is well-cast as Jim, more aloof and introspective, yet tranquil helplessly drawn to the enigmatic Catherine.

This is the kind of movie one admires more each time you study it. At first, you are dependent on the subtitles; later you impartial delight in the accelerate of scenes, the behind change in mood from youthful exuberance to subdued acceptance, and then the stark and tragic, yet inevitable, conclusion. If you like character-driven stories about unconventional people, you’ll appreciate Jules and Jim.

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