Posted on Tuesday, 24 June 2008

Instead of Jules and Jim’s giddy, free-flying use of cinema to amplify the exuberance of its young lovers, here Truffaut’s techniques soberly and masterfully emphasize a tactile, constricting sense of place and time against which the desires of this ill-fated threesome continually struggle, charging the film with a steadily accumulating sexual tension that is never fully satiated despite two lengthy sex scenes. Truffaut builds and expands on Jules and Jim’s vision of love as a dark descent into obsessive ownership killing off the sense of free discovery from which it sprung, while being equally deft, less ostentatious and more judicious in his stylistic approach (characterized by finely choreographed long tracking shots) to emphasize the dramatic core of each scene. (via Shooting Down Pictures: Les deux anglaises et le continent)
Instead of Jules and Jim’s giddy, free-flying use of cinema to amplify the exuberance of its young lovers, here Truffaut’s techniques soberly and masterfully emphasize a tactile, constricting sense of place and time against which the desires of this ill-fated threesome continually struggle, charging the film with a steadily accumulating sexual tension that is never fully satiated despite two lengthy sex scenes. Truffaut builds and expands on Jules and Jim’s vision of love as a dark descent into obsessive ownership killing off the sense of free discovery from which it sprung, while being equally deft, less ostentatious and more judicious in his stylistic approach (characterized by finely choreographed long tracking shots) to emphasize the dramatic core of each scene. (via Shooting Down Pictures: Les deux anglaises et le continent)

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