This page is to obtain access to the Sands Films Cinema Club presentation ONLINE
To attend in person, please CLICK HERE
*
Jules et Jim
Jules et Jim
François Truffaut’s third feature features Jeanne Moreau’s most glorious role, as Catherine in Jules and Jim, Truffaut’s most fully Renoirian film. A charming, vibrant, volatile bohemian in the first half of the twentieth century, Catherine seeks to re-create herself but discovers her emancipation must contend with die-hard male prerogatives. Dressed as a guy, she joins pals Jules and Jim for a spirited race through Parisian air—a lark to her playmates, but expressing the recognition of her equality that she longs for. Truffaut doesn’t disparage the men; he implies, instead, that if any two men could embrace independent, unruly Catherine as their equal it would be Jules and Jim. But telling of the projective fantasy to which even this progressive pair are susceptible is the fact that both first fell in love with Catherine because she reminded them of a favorite statue; and, so, from the start, despite their sincere atmospherics of gender equality, Catherine is the adored creature of their desire—and this she cannot bear. In time, she marries Jules and takes Jim as a lover. At the last, having instructed her spouse to watch, she drives off a cliff, with passenger Jim, into the sea, hoping to drown herself, along with her husband’s behavioral mirror-image, Jim, in her husband’s consciousness. Her primary motive is poignant: Catherine feels she must alert Jules that his liberated self-image blocks him from seeing how gender-insensitive he remains, because she herself sees no other way of improving the lot of their little daughter, Sabine; nor can Catherine otherwise resolve her feeling that, despite her own progressivism, she remains tied to a variation on the traditional domestic scheme from which she wants desperately to be liberated. Truffaut, then, is reflecting on his own time, the 1960s, when he thus rues the failure of gender relations to match their rhetoric of equality. This is the reason why, a half-dozen years hence, he added to Jules and Jim a coda: The Bride Wore Black—a plea for gender equality as antidote to the destructive acts and behavior that in its absence both men and women are driven to.
Dennis Grunes
The Life and Films of Francois Truffaut
A short season of Francois Truffaut films to mark the 40th anniversary of his death in 1984.
Showings – select to order tickets:
Tue, Jun 11th, 8:00 PM @ Sands Films Cinema
Tue, Jun 18th, 8:00 PM @ Sands Films Cinema
Tue, Jun 25th, 8:00 PM @ Sands Films Cinema
Jules and Jim
In the carefree days before World War I, introverted Austrian author Jules strikes up a friendship with the exuberant Frenchman Jim and both men fall for the impulsive and beautiful Catherine.
- Year:
- 1962
- Runtime:
- 106 minutes
- Language:
- English, French, German
- Director:
- François Truffaut
- Producer:
- François Truffaut
- Executive Producer:
- Marcel Berbert
- Cast:
- Jeanne Moreau, Oskar Werner, Henri Serre
- Cinematographer:
- Raoul Coutard
- Editor:
- Claudine Bouché
- Production Design:
- Fred Capel
- Composer:
- Georges Delerue
- Sound Design:
- Jean-Lionel Etcheverry
This page is to obtain access to the Sands Films Cinema Club presentation ONLINE
To attend in person, please CLICK HERE
*
Jules et Jim
Jules et Jim
François Truffaut’s third feature features Jeanne Moreau’s most glorious role, as Catherine in Jules and Jim, Truffaut’s most fully Renoirian film. A charming, vibrant, volatile bohemian in the first half of the twentieth century, Catherine seeks to re-create herself but discovers her emancipation must contend with die-hard male prerogatives. Dressed as a guy, she joins pals Jules and Jim for a spirited race through Parisian air—a lark to her playmates, but expressing the recognition of her equality that she longs for. Truffaut doesn’t disparage the men; he implies, instead, that if any two men could embrace independent, unruly Catherine as their equal it would be Jules and Jim. But telling of the projective fantasy to which even this progressive pair are susceptible is the fact that both first fell in love with Catherine because she reminded them of a favorite statue; and, so, from the start, despite their sincere atmospherics of gender equality, Catherine is the adored creature of their desire—and this she cannot bear. In time, she marries Jules and takes Jim as a lover. At the last, having instructed her spouse to watch, she drives off a cliff, with passenger Jim, into the sea, hoping to drown herself, along with her husband’s behavioral mirror-image, Jim, in her husband’s consciousness. Her primary motive is poignant: Catherine feels she must alert Jules that his liberated self-image blocks him from seeing how gender-insensitive he remains, because she herself sees no other way of improving the lot of their little daughter, Sabine; nor can Catherine otherwise resolve her feeling that, despite her own progressivism, she remains tied to a variation on the traditional domestic scheme from which she wants desperately to be liberated. Truffaut, then, is reflecting on his own time, the 1960s, when he thus rues the failure of gender relations to match their rhetoric of equality. This is the reason why, a half-dozen years hence, he added to Jules and Jim a coda: The Bride Wore Black—a plea for gender equality as antidote to the destructive acts and behavior that in its absence both men and women are driven to.
Dennis Grunes
The Life and Films of Francois Truffaut
A short season of Francois Truffaut films to mark the 40th anniversary of his death in 1984.
Showings – select to order tickets:
Tue, Jun 11th, 8:00 PM @ Sands Films Cinema
Tue, Jun 18th, 8:00 PM @ Sands Films Cinema
Tue, Jun 25th, 8:00 PM @ Sands Films Cinema
Jules and Jim
In the carefree days before World War I, introverted Austrian author Jules strikes up a friendship with the exuberant Frenchman Jim and both men fall for the impulsive and beautiful Catherine.
- Year:
- 1962
- Runtime:
- 106 minutes
- Language:
- English, French, German
- Director:
- François Truffaut
- Producer:
- François Truffaut
- Executive Producer:
- Marcel Berbert
- Cast:
- Jeanne Moreau, Oskar Werner, Henri Serre
- Cinematographer:
- Raoul Coutard
- Editor:
- Claudine Bouché
- Production Design:
- Fred Capel
- Composer:
- Georges Delerue
- Sound Design:
- Jean-Lionel Etcheverry