Jules (Oskar Werner),an introspective Austrian and Jim (Henri Serre) a confident Frenchman begin a friendship that defies understanding. What begins as an exchange and discourse over art develops into a bond that seems able to withstand anything, including fighting against each other in WWI. After the war has ended, the duo goes on sharing art and women with each other, until Jules falls in love with Catherine (Jeanne Moreau),a free-spirited woman with an unpredictable temperament, prone to emotional outbursts. Despite the easy-going inexperienced Jules being an odd fit for Catherine, he asks Jim not to chase Catherine, so he can have her love all to himself. Despite Jules' request, he invites Jim on many of the couple's outings and the trio spends most of their time together. Even after Catherine and Jules marry and have a child, Jim is invited to live in their home with them. Over time, an intimacy begins to develop between Jim and Catherine, which Jules is aware of. Instead of risking losing his friend or his marriage Jules allows the intimacy to blossom which creates a domino effect of emotions between the three of them. Life no longer is about what each wants individually, but rather what each other wants and expects and what kind of life they want the other to fulfill. The decision to allow the three-way relationship has enduring effects on all involved due to the complicated nature of the two men's love for Catherine, as well as their devotion to each other. Bonds will be tested, as Jules and Jim face another war, this time, off the battlefield.

"You said, "I love you," I said, "Wait." I was going to say, "Take me," you said, "Go away." Arguably the most memorable quote from Jules and Jim also acted as a heart-wrenching opening, conveying to the audience just how much of an emotional experience they were in for. As we are introduced to each character, Truffaut takes his deliberate time revealing what Jules and Jim mean to each other. It is Truffaut's prowess as a director that allows the audience to truly understand the depth of devotion that Jules and Jim share for each other. Without his labored efforts, the rest of the story would pass by unnoticed because this truly is a story about three people in love rather than a love triangle with each point seeking out the object of their affection. The story relies on the understanding that neither Jules, Jim, nor Catherine will seek to fulfill their own needs at the expense of each other. Technically, Truffaut showed mastery on only his third feature film. His use of freeze frames was fantastic and essential in allowing the audience to realize the profound effect on the emotional state of the men involved with Catherine, each "moved by a symbol they could not understand." Truffaut also uses the overlay technique a few times to great success, placing Catherine's face over a few scenes really driving home the idea that every thought or activity Jules and Jim ever took part in was driven by Catherine. In just three short years since his first feature, The 400 Blows--a masterpiece in its own right, Truffaut further revealed his mastery for capturing the complexity of human emotion like few others before him.

Few films tackle the emotionally intense themes Jules and Jim take on. Truffaut delves into pain, the kind of pain that is caused by yearning in love. Love and lust is a theme constantly at the forefront of the film, as well, along with a precise distinction between the two. Jules, lacking the romantic experience of Jim, attempts to shield Catherine from Jim for fear that he will only lust after her. When it becomes clear that Jim actually loves Catherine, as Jules does, he relents and decides to share his love of Catherine with Jim. Jules loves Catherine and shares a devotion to Jim, so he supports a union between Jim and Catherine because he needs to be a part of each's life and wants happiness for all parties involved, and vice-versa for Catherine and Jim. Devotion, like I have never since seen replicated on screen, is the driving force behind each character's actions and thoughts. The way Truffaut managed to capture that devoted motivation shows impeccable insight to the human spirit and cements him as the purest most personal filmmaker I have ever seen. Running the gamut of emotional commentary, Truffaut also successfully illustrates loneliness, especially experienced by Catherine, and its power over life. Catherine is clearly a damaged soul, she has met and overcome many obstacles in her life, most of which, are only alluded to. There are aspects of both Jules and Jim that she depends on for her very survival, necessitating that they both remain in her life. Catherine has been unable to commit to another due to her expectation of being abandoned, as only hinted to in a couple of scenes between her and Jules. It is this damage that makes her reckless and prompts Jules and Jim to be more cautious in their interactions with her. To be able to show every unlikeable aspect of a human being, yet, still endear that person in the hearts of the audience was a skill no one in the history of cinema has been more proficient at than Francois Truffaut. By the film's conclusion, we may not have that ending that leaves each better off and happy, but what we do get is the realization that we're all in search of our statue; that one person that is perfect to us and for us despite their obvious flaws, just as Jules and Jim traversed gardens in search of their statues before they happened upon the same one, and once we find that statue, we will do whatever it takes to keep it in our view.

Catherine marries Jules, but leaves him for Jim except that she has this thing for Albert, but she really loves Jules, although she misses Jim... This is basically a soap opera without rhyme or reason and it runs out of steam long before the ridiculous finale. It has no plot or point except to wallow in its Frenchness...easy women, effeminate men, free love, pretentious conversation. Moreau's Catherine is an annoying diva, although she is supposed to be so irresistible that her husband and lovers are willing to share her rather than risk losing her. The narration is pompous and superfluous. This unbearable drivel presents Truffaut at his indulgent worst. It's all style and no substance.

I must be missing something. After all, this is one of Francois Truffaut's most respected and critically acclaimed movies--and I only thought it was average--certainly not something special. I felt pretty much the same way about The 400 Blows--they're decent enough movies but didn't particularly move me. However, I did like other Truffaut films, such as The Wild Child, The Last Metro and Fahrenheit 451, so I don't think I have any deep seeded hatred of the director or French cinema.

First, I do admit that the acting and direction were good. However, I just didn't feel that engaged by the characters--I just didn't seem to care too much what happened to them and I was a bit bored by the love triangle. I think that is the key for me, as his other films I didn't care too much for all featured characters I couldn't really respect or care what happened to them, while this was not the case with those I liked.

I guess this means that if you don't mind having a movie where you don't feel much emotional connection to the characters, you'll probably love the film. My own personal prejudice is that to enjoy a movie I need this connection on some level.