Charlie Kohler is a piano player in a bar. The waitress Lena is in love with him. One of Charlie's brother, Chico, a crook, takes refuge in the bar because he is chased by two gangsters, ... See full summary »
A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he reunites with a hip American journalism student and attempts to persuade her to run away with him to Italy.
Pierre Lachenay is a well-known publisher and lecturer, married with Franca and father of Sabine, around 10. He meets an air hostess, Nicole. They start a love affair, which Pierre is hiding, but he cannot stand staying away from her.
In pre-WWI Paris, two friends, Jules (Austrian) and Jim (French), fall in love with the same woman, Catherine. But Catherine loves and marries Jules. When they meet again in Germany after the war, Catherine starts to love Jim - This is the story of three people in love, a love that doesn't affect their friendship, and about how their relationship evolves with the years.Written by
One of the earliest foreign films to be distributed in the US by two Harvard students, Cyrus Harvey and Brian Halliday, under their newly formed company, Janus Films. Janus went on to distribute all sorts of classic foreign films and is now owned by Criterion. See more »
When Jim arrives by train at Jim and Catherine's house in Germany, a shot from the air depicts a French (SNCF) train. When the train arrives in the station in the next shot, the SNCF logo is hidden from sight. See more »
I recognized her as the banjos danced, That mysterious smile left my heart entranced, That voice so bright, That face so white, I fell into a trance. I drank and hear her song so gay, Alcohol takes time's sting away, I woke in her embrace, Felt her kisses on my face. Felt her kisses on my face. We met, said adieu and then met anew, We lost touch and then we lost touch again, Said hello from the heart, Then strayed apart, But then again it starts. We went our own ways, In life's ...
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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.
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