Jules et Jim presents perhaps the epitome of Nouvelle Vague (or New Wave) film: unknown actors, real-life sets, natural lighting, and bags of improvisation – all in all (and very much in the student spirit) a low-budget production. As such, it’s a brilliant effort.
Leg-fetishist director and producer François Truffaut wished to move away from the artificial, grandiose tradition of le cinéma du papa to create something a little closer to home. Based on Henri-Pierre Roché‘s semi-autobiographical novel of the same name, Jules et Jim takes an unconventional stance on what could otherwise have been a horribly cliché love-triangle.
Set around the First World War, with authentic wartime footage and newsreel-style voiceovers, you can‘t help but admire Truffaut‘s stylistic choices: he was a firm believer in the notion of le caméra-stylo, the idea that cinematography isn’t just art for art’s (and entertainment’s) sake, but a means of expression for the writer himself.
On a more technical note, however, the concept of the caméra léger (or light/travelling camera) meant that Truffaut could shoot longer detail-based scenes on the move (very hi-tech for 1962), most notably in a ‘search for signs of civilisation’ shot.
And of course, a Truffaut is not a Truffaut without a freeze frame (or four) thrown in for good measure – beautifully done; and if you don’t have your wits about you, you might just miss the most subtle one of them all (I’ll give you a clue: it’s of Jules and Jim…).
Oscar Werner, Henri Serre and Jeanne Moreau who play the roles of Jules, Jim and Catherine respectively, impressively capture the essence of each character and, given Truffaut’s hands-off approach to directing, deliver many a poignant scene in a spectacularly befitting manner that makes for a lasting impression on the audience.
And, if you can’t quite get enough of this fabulous trio, Truffaut’s other Nouvelle Vague films include the semi-autobiographical Les Quatre Cents Coups said to have launched the French New Wave, Les Mistons, a parody short-film of The Misfits, and the legendary A Bout De Souffle co-written with Jean Luc Godard.
Despite its age, Nouvelle Vague remains as fresh as its first conception, allowing Jules et Jim’s endurance and re-release.
Four stars.
