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Jules und Jim

Originaltitel: Jules et Jim
  • 1962
  • 18
  • 1 Std. 45 Min.
IMDb-BEWERTUNG
7,7/10
46.132
IHRE BEWERTUNG
Poster for 1976 rerelease, A1, 23 x 33 Movie Poster
Bande-annonce [OV] ansehen
trailer wiedergeben3:10
1 Video
99+ Fotos
Psychologisches DramaTragische RomanzeZeitraum: DramaDramaRomanze

Jahrzehnte einer Dreiecks-Liebesgeschichte über zwei Freunde und eine impulsive Frau.Jahrzehnte einer Dreiecks-Liebesgeschichte über zwei Freunde und eine impulsive Frau.Jahrzehnte einer Dreiecks-Liebesgeschichte über zwei Freunde und eine impulsive Frau.

  • Regie
    • François Truffaut
  • Drehbuch
    • Henri-Pierre Roché
    • François Truffaut
    • Jean Gruault
  • Hauptbesetzung
    • Jeanne Moreau
    • Oskar Werner
    • Henri Serre
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,7/10
    46.132
    IHRE BEWERTUNG
    • Regie
      • François Truffaut
    • Drehbuch
      • Henri-Pierre Roché
      • François Truffaut
      • Jean Gruault
    • Hauptbesetzung
      • Jeanne Moreau
      • Oskar Werner
      • Henri Serre
    • 165Benutzerrezensionen
    • 102Kritische Rezensionen
    • 97Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Nominiert für 2 BAFTA Awards
      • 3 Gewinne & 4 Nominierungen insgesamt

    Videos1

    Bande-annonce [OV]
    Trailer 3:10
    Bande-annonce [OV]

    Fotos147

    Poster ansehen
    Poster ansehen
    Poster ansehen
    Poster ansehen
    Poster ansehen
    Poster ansehen
    Poster ansehen
    + 140
    Poster ansehen

    Topbesetzung18

    Ändern
    Jeanne Moreau
    Jeanne Moreau
    • Catherine
    Oskar Werner
    Oskar Werner
    • Jules
    • (as Oscar Werner)
    Henri Serre
    Henri Serre
    • Jim
    Vanna Urbino
    Vanna Urbino
    • Gilberte
    Serge Rezvani
    Serge Rezvani
    • Albert
    • (as Bassiak)
    Anny Nelsen
    Anny Nelsen
    • Lucie
    Sabine Haudepin
    Sabine Haudepin
    • Sabine - La Petite
    Marie Dubois
    Marie Dubois
    • Thérèse
    Michel Subor
    Michel Subor
    • Récitant
    • (Synchronisation)
    • …
    Danielle Bassiak
    • Compagnon d'Albert
    • (Nicht genannt)
    Elen Bober
    Elen Bober
    • Mathilde
    • (Nicht genannt)
    Pierre Fabre
    Pierre Fabre
    • Ivrogne in Cafe'
    • (Nicht genannt)
    Dominique Lacarrière
    Dominique Lacarrière
    • Une des femmes
    • (Nicht genannt)
    Bernard Largemains
    • Merlin
    • (Nicht genannt)
    Kate Noelle
    • Birgitta
    • (Nicht genannt)
    Jean-Louis Richard
    Jean-Louis Richard
    • Cliente au Cafe'
    • (Nicht genannt)
    Michel Varesano
    • Cliente au Cafe'
    • (Nicht genannt)
    Christiane Wagner
    • Helga
    • (Nicht genannt)
    • Regie
      • François Truffaut
    • Drehbuch
      • Henri-Pierre Roché
      • François Truffaut
      • Jean Gruault
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen165

    7,746.1K
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    Empfohlene Bewertungen

    9Cheetah-6

    Whirlpool Of Days

    Those with heavy sensibilities along the lines of conventional "morality" seem to have a hard time allowing themselves to enjoy this film for what it is: A beautiful visual poem about the passing of time and the progression and growth of an unusual friendship. This friendship may be unusual but feels completely natural and true. Jules and Jim if anything, exhibit great maturity in their relationship with each other and Catherine. It's refreshing to see a film dealing with a deep love, friendship and emotional bond between two males and a mutual love for a woman, without the usual competitiveness and controlling possessiveness that is the norm. Jules and Jim come off more as an enlightened pair. It seems understood among them there is no real belonging of one human being to another. Catherine's whims of the heart are discussed between them at every stage throughout the film and they are willing to accept them and love her for who she is as well as each other.

    I do feel that this film lost it's pacing toward the end and seemed to speed up to conclusion. That being it's only flaw. Visually it is stunning. Francois Truffaut was a poet with the camera and his subtle nuances are captivating. The scenes of Jules, Jim and Catherine enjoying days together seem so natural and evoke the feel of wonderful days spent together among best friends that transported me back to days gone by.

    "we met with a kiss/ a hit, then a miss/ and we parted/ we went our own ways/ in life's whirlpool of days/ around and around we go/ together bound/ together bound."
    10the red duchess

    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.
    9marissas75

    Truffaut's "Hymn to Life"

    Although "Jules and Jim" was made over 40 years ago and takes place 40 to 50 years before that, the amazing thing is that it barely seems to have dated. Because it focuses on the universal human relationships between its characters, rather than the specific time in which they live, it's the rare film set in the past that doesn't feel like a "period film." And, especially in the first half of the movie, Truffaut's New Wave techniques lend a remarkable energy and freshness.

    The movie explores friendship and love among three semi-bohemian types: Parisian Jim (Henri Serre), Austrian Jules (Oskar Werner), and Catherine (Jeanne Moreau), the beautiful, free-spirited woman whom they both love. She's the most vibrant character in the movie, and impossible to pin down. It's never clear who she loves—she contradicts herself repeatedly, and perhaps loves no one but herself—or whether she's diabolical or simply misunderstood. Moreau nearly steals the movie, if not for the fact that the title reminds us to focus on the relationship between the two men, and that Serre and Werner give good performances too. Even if Jim and Jules aren't as mysterious as Catherine, they're complex and interesting characters in their own right.

    The story plays out rather episodically, which means "Jules and Jim" is full of wonderful little moments, often involving the crazy things Catherine does. Some of my favorites include her dressing up as a man and racing Jules and Jim across a bridge; her jumping into the Seine in frustration; and her singing the movie's charming theme song, "The Whirlpool of Life." The episodes are linked together by surprisingly unobtrusive off-screen narration, which keeps the film moving along rather than slowing it down.

    "Jules and Jim" does get a little tiresome toward the end, with Catherine continually vacillating between the men in her life, Jim vacillating between Catherine and his old girlfriend Gilberte, and Jules remaining loyally devoted to Catherine despite how foolish this may seem. However, the movie is redeemed by its tragic final scenes, which poignantly contrast with the carefree gaiety of the beginning. Jules, Jim, and Catherine are caught in a destructive spiral, tossed and defeated by the whirlpool of life. Still, the tone of the movie is gentle and human, not pessimistic. Truffaut considered "Jules and Jim" a "hymn to life," and it is most memorable as a vivid celebration of friendship and youthful possibility, even as it acknowledges how those things can sour.
    8Xstal

    The Power of Love...

    Two lads from different backgrounds form a bond, a French boy with dark hair, an Austrian blond, quite Bohemian in their ways, taking pleasure all their days, and then Catherine makes it three, and waves her wand. Jim is smitten with this beauty and he falls, but then war breaks out, and homeland duty calls, so they marry, relocate, intense fighting means a break, she has a child, world reconciles, and bonds remake. Jules travels to the home of his two friends, where the triangle rotates, gyrates and bends, now he's coupled with Catherine, but Jim feels no chagrin, though it's clear this isn't where the story ends.

    Jeanne Moreau is always outstanding!
    8rivera66_99

    Forces of Nature

    There is a book by Goethe mentioned in this movie, it's "Wahlverwandschaften", and its appearance is quite meaningful. Because the movie takes a look on human loves and lives that is quite similar to older Goethe's fatalistic world-view in his novel, very far from hope and idealisms. Strength (Moreau's character) and Weakness (Jim) are equal forces of nature, and both conduct us to death. The stoic attitude (Jules) is resignation and, seen this way, it is "weakness" too, but, on the other hand, it seems to be the STRONGEST way, because it means survival. JULES ET JIM, both in its content and in its aesthetics, has an air of antique tragedies, but - and this is more like the German novel - without complain, without crying. That's why it leaves you so "unsatisfied", and that's why it's still disturbing, even today.

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    Handlung

    Ändern

    Wusstest du schon

    Ändern
    • Wissenswertes
      Henri-Pierre Roché's original novel was based on his own experiences as a young man. The original Catherine was still alive when the film was released and even attended the premiere incognito.
    • Patzer
      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.
    • Zitate

      Jim: We played with life and lost.

    • Alternative Versionen
      The Criterion Region 1 disc and the Tartan Region 2 DVD have a scene in which the film is reversed left/right. When Jules, Jim, and Albert are sitting on the grass sharing stories about the war, the order of the three characters repeatedly changes between shots. This does not occur in other DVD releases of this film, including the Fox/Lorber Region 1 release.
    • Verbindungen
      Edited into Laggiù qualcuno mi ama (2023)
    • Soundtracks
      Le Tourbillon
      Music by Serge Rezvani

      Lyrics by Serge Rezvani

      Performed by Jeanne Moreau

    Top-Auswahl

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    FAQ19

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    Details

    Ändern
    • Erscheinungsdatum
      • 23. Februar 1962 (Westdeutschland)
    • Herkunftsland
      • Frankreich
    • Sprachen
      • Französisch
      • Deutsch
      • Englisch
    • Auch bekannt als
      • Jules and Jim
    • Drehorte
      • Cimetière du Père-Lachaise, 16 rue du Repos, Paris 20, Paris, Frankreich(ending scene)
    • Produktionsfirmen
      • Les Films du Carrosse
      • Sédif Productions
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

    Ändern
    • Bruttoertrag in den USA und Kanada
      • 509 $
    • Eröffnungswochenende in den USA und in Kanada
      • 11.206 $
      • 25. Apr. 1999
    • Weltweiter Bruttoertrag
      • 497.686 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      • 1 Std. 45 Min.(105 min)
    • Farbe
      • Black and White
    • Sound-Mix
      • Mono
    • Seitenverhältnis
      • 2.35 : 1

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