For those hording toilet paper

Time for a light, Jules et Jim (1962).

I guess for me, there are times I get a bit frustrated with myself. Like I have so much to say, but in the writing the words kind of catch in the net of my mind and like the fly bouncing but unable to free itself from the web, the spider is the fading into the ether. But also frustrating is how to tie in the loose bits of what I found important and profound to me into a review / write-up despite their desire to be outside of the usual structure to express themselves beyond the typical.

What do I mean? So I’m watching Jules et Jim (1962) and afterward the structure of my review began to form itself. Included was a final paragraph that was compelled to be exposed. How could I not mention two important characters introduced by Truffaut into the narrative triangle of Jules, Jim, and Catherine? Sabine is that daughter all three adore. Catherine does love her, but she is like a wildflower that can’t stay bound to the valley it blooms from. Catherine just isn’t the person who can fit into the structure of a typical family unit. Boredom sets in. Catherine is indeed that square peg while Jules seems quite naturally fit for that circle. There is a scene showing him sawing logs while Sabine’s arms extend to carry them freshly cut to the wood pile. Albert, the poet/musician/artist Jules introduces Jim to, is the other character that is quite involved in the triangle, as if Catherine’s go-to sex-toy and overall temporary companion (for however long he’s needed). Much like Jim, Jules doesn’t allow Catherine’s attachment to Albert to ruin how he feels about his wife. Albert is not some nuisance even really. In fact, there is this pleasant scene where a song Catherine and Albert are working on is performed for Jules and Jim. Albert strums the guitar joyfully and Catherine’s melodic voice harmonizes with a glee and smile. Just another interlude for the film among many. Skipping about as they do early on, or Catherine dressed as a “sir” much to the delight of Jules and Jim, or discussing a play they attend with serious debate before Catherine dives into the drink; Truffaut gives the characters plentiful interludes.

I can see why the film is so embraced. A film that gives characters such interludes and offers their indulgences free from the constraints of the usual structure that often didn't allow such; the creative freedom of Truffaut and the actors available right up there on screen has a lot of energy to it. I can just envision the creative input, revelations, and improvisations that only further added to the unveiling of the characters as they write themselves before us: I wonder how much is screenplay and intentional from the get-go and came from those involved as filming took place. I certainly think Truffaut seemed to be the kind of director willing to give and take if what was offered made an even better film. Still the structural techniques introduced, besides the character developments (gathering on the beach, running a race, gathered in the "living room" of the chateau on the Rhine), are pure Truffaut like this favorite of mine where Jim and Catherine allow their developing affection to be freed from its cage as he kisses her neck after leaving the house with the camera following upward to Jules on the second floor or the three of them earlier in a cottage popping out their own windows to embrace the newness of the day. 

So the film had bits and pieces clinging to the pleasures of my mind needing to be released somehow. I'll do so with this companion piece to my review for Jules et Jim.