Jules and Jim - Criterion Collection

Starring:Jeanne Moreau, Oskar Werner, Henri Serre, Vanna Urbino, Boris Bassiak, Anny Nelsen, Sabine Haudepin, Marie Dubois, Michel Subor, Dominique LacarriÃ¨re, Christiane Wagner, Elen Bober, Pierre Fabre, Kate Noelle, Michel Varesano, Jean-Louis Richard, Bernard Largemain, Danielle Bassiak
Director: FranÃ§ois Truffaut
Studio: Criterion
Product Type: DVD

Amazon.com

François Truffaut's third feature, though it's named for the two best friends who become virtually inseparable in pre-World War I Paris, is centered on Jeanne Moreau's Catherine, the most mysterious, enigmatic woman in his career-long gallery of rich female portraits. Adapted from the novel by Henri-Pierre Roché, Truffaut's picture explores the 30-year friendship between Austrian biologist Jules (Oskar Werner) and Parisian writer Jim (Henri Serre) and the love triangle formed when the alluring Catherine makes the duo a trio. Spontaneous and lively, a woman of intense but dynamic emotions, she becomes the axle on which their friendship turns as Jules woos her and they marry, only to find that no one man can hold her. Directed in bursts of concentrated scenes interspersed with montage sequences and pulled together by the commentary of an omniscient narrator, Truffaut layers his tragic drama with a wealth of detail. He draws on his bag of New Wave tricks for the carefree days of youth--zooms, flash cuts, freeze frames--that disappear as the marriage disintegrates during the gloom of the postwar years. Werner is excellent as Jules, a vibrant young man whose slow, melancholy slide into emotional compromise is charted in his increasingly sad eyes and resigned face, while Serre plays Jim as more of an enigma, guarded and introspective. But both are eclipsed in the glare of Moreau's radiant Catherine: impulsive, demanding, sensual, passionate, destructive, and ultimately unknowable. A masterpiece of the French New Wave and one of Truffaut's most confident and accomplished films. --Sean Axmaker

Description

Hailed as one of the finest films ever made, legendary director François Truffaut's early masterpiece Jules and Jim charts the relationship between two friends and the object of their mutual obsession over the course of twenty-five years.

Customer Reviews:

Jules et Jim.......2007-06-27

A smash hit in 1961, Truffaut's lyrical story of friendship and unrequited love vividly captures the enigmatic nature of l'amour. Moreau is magnificent as the tempestuous object of love, a mercurial woman who won't be completely possessed by any man. Adapted from Henri-Pierre Roche's novel and shot by master lensman Raoul Coutard, Truffaut's gorgeous film captures the jubilance of youth with freeze frames, zoom-ins, and one iconic tracking shot of Moreau, dressed as a man, running across a footbridge with Jules and Jim. One of cinema's great achievements, "Jules et Jim" is a sweetly buoyant romantic saga with a tragic twist ending.

A beautiful disaster.......2007-06-20

Jules and Jim has got to be one of the most bizarre and intriguing love stories I have ever witnessed. I use the word "love" very loosely when attaching it to this tale.

That's because this movie had me questioning the very definition and boundaries of love. Here it seems to be built so effortlessly, like a sand castle at the beach, and then washed away just as easily.

This is a very character-driven story, starting off in Paris in 1912. There's two men, Jules and Jim, who become very close friends. You really could sense a deep love develop between these two guys, and I wondered if this was headed toward a gay love story.

As it turns out, that might of been a wiser path for them to take. Instead, they meet a beautiful and enigmatic young woman, and the three of them all become very close.

But they soon learn that she is a true force of nature that manifests itself in cataclysms. Quite a beautiful disaster. She marries Jules, then later falls in love with Jim, and goes back and forth between the two.

What I found truly interesting was the two men's enduring friendship. There would understandably be jealousy and insecurities, but this never diminished their friendship. I found their relationship quite admirable.

This is a spectacular movie which I'm sure caused some controversy when it was first released. It's based on a semi-autobiographical book.

a mission to veiw the BEST according to someone..........2007-06-12

Sick of Hollywood and most popular films as they are directed at an age group I left in the 70s - I decided to invest a bit in movies that are accorded with the "best ever made" affixed to them, and hoped for the best.

In some cases this works great, but for me, this film was a flop. The setting is probably the most interesting thing about this film. I could NOT wrap my head around why any two adults would bother indulging this outrageously (what we might today call high-maintenance) self-indulgent woman.

Worst of all, the film feels it necessary to punish people who flaunt the usual societal fashions of love and monogamy. They are punished with gun play and eventual death. Why? Do we really need to be whipped into conforming that badly?

Do we really need to be shown that free-love, and liberal minded women are supreme dangers not to be trusted or experienced?

Ah, I think we can do better. I am a child of the 60's after all!

Jeanne Moreau is indeed lovely, and when playful, very amusing. The boys are dolts, seemingly without any spine or desire of their own, perhaps the experience of war wore them out, and they just didn't care anymore.

It's hard to say. It's also quite difficult to identify with anyone in the film, and the vicious ending leaves one without much hope for love.

A relationship is when one partner remains faithful.......2007-04-29

Having only watched one Truffaut film, 400 Blows, and having enjoyed it, I have wanted to watch other films by this renowned director of the French New Wave for quite sometime now, but, for some reason or another, I have always picked up the films of Truffaut's friend and fellow director Jean-Luc Godard instead. Yet, while I do enjoy Godard's films, they are sometimes so arty that they are hard to watch. Truffaut's films, of the two I have seen now anyway, are not nearly as pretentious as Godard's, but at the same time they display the art of the French New Wave.

While 400 Blows was steeped in bleakness, Jules and Jim has a much lighter air to it although it too carries some heavier themes. Jules and Jim, the former is Austrian and the latter French, start up a friendship in 1912 and soon become nearly inseparable. They both have literary minds and teach each other their native tongues and the cultures of their native lands. Often, the two friends go out together searching for women. The handsomely mustached Jim, for the most part, has a great deal more success with the ladies than the blond Jules, but the latter is not disheartened and jealousy never clouds the friendship he shares with the tall and thin Jim.

On one occasion, after visiting a statue whose smile had bewitched the two men, Jules becomes smitten with a woman named Catherine who has quite a colorful past. While one might expect Jim to fall for Catherine, also, this is not the case. He respects Jules's love for the woman, and soon the three make up a trio and enjoy there time together. But this perfect relationship does not last for long because of the outbreak of World War I with Jules and Jim fighting on opposite sides. Luckily both were not killed during the war, but things have changed within Jules and Catherine's relationship and Jim's relationship with Catherine might not be quite as platonic as it was before.

Jules and Jim is quite an amazing film. The first twenty minutes or so are very lighthearted and the viewer is drawn quickly into the relationship between the two men. One can feel that they truly understand each other and one can feel the passion they hold for their interests. Even with the introduction of Catherine their friendship does not wane. A totally pleasant film that should not be missed by fans of the French New Wave or even by fans of foreign films in general, Jules and Jim will act as a drink of cold water in the realm of the heavily political films of Godard.

Jules, Jim, and Catherine.......2007-04-28

A menage a trois is the subject of Francois Truffaut "Jules and Jim" (1962) and it tells the story of two close friends, the German Jules and the Frenchman Jim that both fall in love with Catherine. Jules marries her and takes her to Germany. When the friends meet again after the WWI is over, Catherine decides to change partners...

I am in love with Truffaut's directing, with his camera movements, with the feel, fragrance, and the atmosphere of France and Paris in the beginning of 20th century, with the music and the song "le Tourbillon" that Catherine sings and with Jeanne Moreau who brought so much life, charm, and yes craziness to her unforgettable and free-spirited character. What a wonderful and elegiac poem of love, freedom, and alas disappointments. "Jules and Jim" is a dream come true for Truffaut who had wanted to adapt the novel of Henri-Pierre Roche since he read it first in 1953 and it is joy to watch.

4.5/5

Average customer rating:

A fine Jules Dassin film, a bit over-balanced by Lee J. Cobb's criminally sly performance
Mediocre movie with a few great highs
DASSIN AT HIS BEST!
Cutthroat world of trucking
Blistering Film-Noir

Thieves' Highway - Criterion Collection
Starring: Richard Conte , Valentina Cortese , Lee J. Cobb , Barbara Lawrence , and Jack Oakie
Director: Jules Dassin
Manufacturer: Criterion
ProductGroup: DVD
Binding: DVD

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Where the Sidewalk Ends (Fox Film Noir)

ASIN: B0006Z2NDQ
Release Date: 2005-02-01

Amazon.com

The rugged world of long-haul trucking knits perfectly with classic film noir dynamics in this sizzling, underrated picture. Navy veteran Richard Conte returns home to California, only to plunge into a revenge scenario and a scheme to haul the season's first apples to the teeming San Francisco fruit market (a place seen as a nocturnal jungle for the survival of the fittest). Lee J. Cobb enjoys himself enormously as the chiseling boss at the Frisco market, Millard Mitchell is wry as Conte's angle-playing trucking partner, and Valentina Cortese adds a bright, sexy exoticism to the multi-layered duplicitous dame. Director Jules Dassin, in his last American-shot film before blacklisting, shows his expressive abilities with shadowy interiors and road-movie exteriors alike. The punchy screenplay by A.I. Bezzerides, whose trucking experiences also fueled They Drive by Night, is a textbook case for the complexities of pulp--not apples, fiction. --Robert Horton

Description

Thieves' Highway is set in the world of "long-haul boys" who drive by night to bring their goods to the markets of America's cities. Ex-G.I. Nick Garcos (Richard Conte) is a tyro trucker bent on satisfaction from the man responsible for crippling his father—ruthless market operator Mike Figlia (Lee J. Cobb). Along the way, he is seduced by siren Rica (Valentina Cortesa) and drawn into the San Francisco produce racket—landing him in a web of treachery and heartbreak. The Criterion Collection is proud to present this Jules Dassin masterpiece, the last film he completed in America before he was blacklisted.

Customer Reviews:

A fine Jules Dassin film, a bit over-balanced by Lee J. Cobb's criminally sly performance.......2007-02-25

Jules Dassin directed, in my opinion, two great dramas that happened to be crime films, Night and the City (1950) and Rififi (1955). Earlier, he made two near-great crime films, Naked City (1948), a little dated now, and Brute Force (1947). For me, Thieves' Highway (1949) pauses right in the middle, both in terms of the year made and in terms of the success of the story. The movie tells us about Nick Garcos (Richard Conte), who returns home from working at sea with presents for his family and his fiance. He discovers that his father, a long-haul produce trucker, has lost his legs in a trucking accident after delivering tomatoes to produce broker Mike Figlia (Lee J. Cobb) in San Francisco. It looks like Figlia also stole back the money his father had been paid by Figlia. Nick is determined to settle scores. He sets out with an old-time hauler to deliver apples to Figlia, and plans to do whatever it takes to even things out. It doesn't work out so easily for Nick. The happy ending Darryl F. Zanuck shot and added to the film without Dassin's knowledge doesn't help matters. Zanuck's contribution starts with Nick meeting Figlia in a bar by a highway, a fight and ends with Nick and Rica, a woman he met after his fiance dumped him and who earns her money from men, driving off together. I'm not sure that whatever the original ending was Dassin had in mind would have improved the film. As it is, I think this movie of retribution is masterfully directed, filled with realism, contains several first-rate sequences and is photographed with great style and mood. The truck crashing off the highway, with boxes of apples tumbling off and the apples rolling down the hill toward us is startling. So why don't I like it as much as I think I should? The quick and secondary answer is that I learned more than I needed about produce. It's difficult to make a great movie when crucial plot points turn on whether a bunch of Golden Delicious apples are too mealy. The primary answer is the acting.

I have great admiration for Richard Conte, who plays Nick Garcos. He was always watchable and he got even better as he aged. Most of his career in Hollywood was spent playing second leads or shrewd villains in A movies and leads in B movies. He never managed the traction to move up to Hollywood hero parts. I can't explain it well in words, but Conte, who could be tightly coiled and energetic, lacked in my view a certain amount of charisma that could drive a part into your head. He's very good in Thieves' Highway, but he only occasionally involves me emotionally. (As opposed, for instance, to the loser Harry Fabian played by Richard Widmark in Night and the City; it's tough playing nice leads in noirs.) Valentina Cortese has the looks, the style and the sense of vulnerability to do a good job as Rica, but she doesn't have the language skills. She has a hard time breaking past the language barrier from Italian into English. This hurts the character and it hurts the scenes between her and Conte. On the other side of the scale there's Lee J. Cobb as Mike Figlia. Says Dassin on Cobb's view of Figlia, "'I can outsmart any of the guys and I do what I want to do...law is what I make it...and I have fun with it.' And that's what's under [Cobb's] whole performance." We don't like or trust Figlia, but he's sure a piece of work. We enjoy his untrustworthiness and double dealing because he enjoys it all so much himself. In my view, the balance of interest between Nick and Figlia always tips toward Figlia, thanks to Cobb's skill in the part. And there's Millard Mitchell as Nick's "partner." I think this might be the finest performance of Mitchell's long career. When he and Conte share scenes, it's like pairing up a real-life worn-out long haul driver with a good young actor. That's not criticism of Conte, it's praise for Mitchell.

Criterion, who filmed a long interview with Dassin in his early nineties, has used various parts of that interview as they have released his films. The part of the interview where Dassin discusses Thieves' Highway is included as an extra, along with a film commentary and a trailer for a documentary on A. I. Bezzerides, the author of the screenplay. There is an essay on the film included in the DVD container. It seemed to me to over-analyze the film with an over-wrought style. Criterion's DVD transfer of this black-and-white film is immaculate. Anyone who admires Dassin would want to have this movie.

Mediocre movie with a few great highs.......2006-12-09

A simplistic plot, a crude point, one dimensional characters, and far too much deus ex machina. Its in black and white but the ending is so saccharine it can't be noir. All the makings of a one star movie but wait -- what happens if you add some good lines, a few immortal shots, some great ensemble acting, and another great Criterion transfer? Then you have the Thieve's Highway. Overall a mediocre movie but the highlights are worth seeing.

DASSIN AT HIS BEST!.......2006-05-19

Leftist film director Jules Dassin has four(4) classic film noirs to his credit before his exile to Europe,due to the political blacklist.BRUTE FORCE-tense prison drama;THE NAKED CITY-NYC cops solve a murder; NIGHT AND THE CITY-with Richard Widmark as crooked wrestling promoter Harry Fabian, and this great film THIEVES' HIGHWAY starring Richard Conte,Lee J.Cobb,Millard Mitchell,Jack Oakie, Valentina Cortesse and as Conte's father Morris Carnovsky,who was also backlisted.But it is Cobb who walks away the film with his scene stealing performance as crooked produce middleman Mike Figlia.While watching the film you get the impression that Cobb is greatly enjoying every moment on screen as the amoral Figlia.
After returning home,from a stint at sea,Nick Garcos(Conte) discovers that his father who is an independent produce truck driver, has lost his legs due to a trucking accident that may have been helped along by Figlias henchmen(Edwin Max & George Tyne) and that Figlias men may also have robbed him of the money Figlia gave him for a produce load.
After a hassle about who owns whats left of the Garcos family truck Conte teams up with Millard Mitchell to deliver the first seasonal shipment of apples.After arriving at the produce market a battle of brains and brawn develops between Conte and Cobb(along with his henchmen)Valentina Cortese,a whore,payed by Cobb to divert Contes attention while Cobb "sells" Contes goods, turns out to be a hooker with a heart of gold and her character is contrasted to Contes WASPY intended Barbara Lawrence.
The excellent CRITERION COLLECTION DVD includes an excellent commetary,an interview with Dassin and another interview and documentary with writer/sceenwriter A.I.Bezzerides.

Cutthroat world of trucking.......2006-02-04

Richard Conte stars as Nick Garcos a mechanic on a freighter who arrived home with a wad of hard earned cash to invest in a business in Jules Dassin's pretty good film noir "Thieves Highway". His homecoming is tempered by the discovery that his dad, a produce trucker had been swindled on the delivery of a load of tomatoes. The guilty party, Mike Figlia. a crooked produce merchant played superlatively by the always excellent Lee J. Cobb arranged a road accident for Conte's dad where he lost both of his legs.

The enraged Conte also learns that his dad sold his ramshackle truck to Ed Prentiss played by Millard Mitchel and had yet to be paid. He hustled down to Mitchell's place to take back the truck. Instead he and Mitchell partnered in hauling a precious load of golden delicious apples that they hoped to sell in the produce market. Using two trucks they befall many misfortunes on the road to San Francisco where Conte plans on getting retribution against the dishonest Cobb.

Cobb attempts to rob Conte but he is helped by Valentina Cortese playing Rica, a girl hired by Figlia to distract Conte while Cobb's flunkies unload his cargo. Cobb eventually gets his just due and Conte falls in love with Cortese.

While this wasn't one of Dassin's best offerings "Thieves Highway" definitely had its merits. The filming done in and around the streets of San Francisco added that effective noir touch. Character actor Jack Oakie played a nice supporting role as Slob, a rival trucker.

Blistering Film-Noir.......2005-10-17

Richard Conte as a produce truck driver and Lee J. Cobb as a crooked market operator pack a powerful one-two punch in this must see masterpiece.

Conte's world turns a deep shade of noir with the appearance of femme fatale Valentina Cortese to whom he remarks, "You look like chipped glass", she tells him that seagulls, make her "dream of drowning". When Conte remarks that she has soft hands she replies that she has "sharp nails" and proceeds to scratch a tic-tac-toe game on his bare chest.

In addition to themes of crooked business, revenge, and duplicity there is also a nice sub text about the life, desires and passions of both the ethnic people of the earth and the respectable WASPS of post-war suburbia.

Has lost none of it's potency in 50 years. Put this one in your permanent film noir collection.

DVD:

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