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Jules and Jim
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| Jules and Jim | |
|---|---|
 Theatrical release poster by Christian Broutin | |
| French | Jules et Jim |
| Directed by | François Truffaut |
| Screenplay by | François Truffaut Jean Gruault |
| Based on | Jules et Jim 1953 novel by Henri-Pierre Roché |
| Produced by | Marcel Berbert François Truffaut |
| Starring | Jeanne Moreau Oskar Werner Henri Serre Marie Dubois |
| Cinematography | Raoul Coutard |
| Edited by | Claudine Bouché |
| Music by | Georges Delerue |
Production companies |
|
| Distributed by | Cinédis |
Release date |
|
Running time | 105 minutes |
| Country | France |
| Languages |
|
| Box office | 1,595,379 admissions (France)[1] |
Jules and Jim (French: Jules et Jim [ʒyl e dʒim]) is a 1962 French New Wave romantic drama film directed, produced and co-written by François Truffaut. Set before, during, and after World War I, it follows a love triangle involving French bohemian Jim (Henri Serre), his shy Austrian friend Jules (Oskar Werner), and Jules' girlfriend and later wife Catherine (Jeanne Moreau).[2]
The film is based on a 1953 semi-autobiographical novel by Henri-Pierre Roché describing his relationship with young writer Franz Hessel and Hessel's wife Helen Grund. Truffaut came across the book in the mid-1950s at a shop in Paris, and later befriended Roché. The author approved of Truffaut's interest in adapting the work.[3]
The film won the 1962 Étoile de Cristal, with Moreau winning that year's prize for best actress. The film was ranked #46 in Empire magazine's 2010 list of "The 100 Best Films Of World Cinema".[4]
Plot
[edit]In 1912, Jules, a shy Austrian writer living in Paris, forges a friendship with the more extroverted Frenchman Jim. They share an interest in the world of the arts and the bohemian lifestyle. At a slide show, they become entranced with a bust of a goddess with a serene smile and travel to an island in the Adriatic Sea to see it.
After encounters with several women, they meet the free-spirited, capricious Catherine, who reminds them of the statue, and the three become inseparable. Although she begins a relationship with Jules, both men are affected by her presence and her attitude toward life, and the three take a seaside holiday together. Jim continues to be involved with his girlfriend Gilberte, usually seeing her apart from Jules and Catherine. Catherine asks to speak with Jim at a cafe, but she does not show up on time and he leaves. A few days before the beginning of World War I, Jules and Catherine move to Austria to get married. Both he and Jim serve during the war, on opposing sides; each fears throughout the conflict the potential for facing the other or learning that he might have killed his friend.
After the war, Jim visits, and later stays with, Jules, Catherine, and their young daughter Sabine at their chalet in the Black Forest. Jules confides to Jim about the tensions in their marriage; Catherine torments and punishes him at times with numerous affairs, and she once left him and Sabine for six months. Catherine flirts with and attempts to seduce Jim, who has never forgotten her. Jules, fearful that Catherine might leave him forever, gives his blessing for Jim to marry Catherine so that he may continue to visit them and see her. The three live happily with Sabine in the chalet until tensions between Jim and Catherine arise over their inability to conceive a child.
Jim leaves Catherine and returns to Paris. After several exchanges of letters between Catherine and Jim, they resolve to reunite when she learns that she is pregnant. The reunion does not occur after Jules writes to tell Jim that Catherine has suffered a miscarriage.
After a time, Jim runs into Jules in Paris. He learns that Jules and Catherine have returned to France. Catherine tries to win Jim back, but he rebuffs her, saying that he is going to marry Gilberte. She pulls a gun on him, but he wrestles it away and flees.
Jim encounters Jules and Catherine in the Studio des Ursulines cinema during a screening of a newsreel depicting Nazi book burnings. The three of them meet at an outdoor cafe. Catherine asks Jim to get into her car, saying that she has something to tell him. She asks Jules to watch them and then drives the car off a ruined bridge into the nearby river, killing both herself and Jim. Jules attends the burial of their ashes in the columbarium at the Père Lachaise Cemetery; Catherine had wanted her ashes to be scattered in the wind from a hilltop, but at the time this was not legal.[5]
Cast
[edit]- Jeanne Moreau as Catherine
- Oskar Werner as Jules
- Henri Serre as Jim
- Vanna Urbino as Gilberte, Jim's fiancée
- Serge Rezvani (credited under the name "Boris Bassiak") as Albert, Catherine's sometime lover
- Marie Dubois as Thérèse, Jules' ex-girlfriend
- Sabine Haudepin as Sabine, Jules and Catherine's daughter
- Kate Noëlle as Birgitta
- Anny Nelsen as Lucy
- Christiane Wagner as Helga
- Jean-Louis Richard as a customer in cafe
- Michel Varesano as a customer in cafe
- Pierre Fabre as a drunk in the cafe
- Danielle Bassiak as Albert's companion
- Bernard Largemains as Merlin
- Elen Bober as Mathilde
- Dominique Lacarrière as a woman
- Michel Subor as the Narrator (voice)[6]
Style
[edit]French New Wave
[edit]Jeanne Moreau incarnates the style of the French New Wave actress. The critic Ginette Vincendeau has defined this as, "beautiful, but in a kind of natural way; sexy, but intellectual at the same time, a kind of cerebral sexuality—this was the hallmark of the nouvelle vague woman."[7]
Music
[edit]According to The New York Times film critic Bosley Crowther, "the emotional content [of the film] is largely carried in the musical score" by Georges Delerue, which he lauded.[8] The soundtrack was named as one of the "10 best soundtracks" by Time magazine in its "All Time 100 Movies" list.[9]
Awards and nominations
[edit]| Year | Award ceremony | Category | Nominee | Result |
|---|---|---|---|---|
| 1963 | BAFTA | Best Film from Any Source | Jules and Jim | Nominated |
| Best Foreign Actress | Jeanne Moreau | Nominated | ||
| Bodil Awards | Best European Film | Jules and Jim | Won | |
| Italian National Syndicate of Film Journalists | Best Foreign Director | François Truffaut | Won | |
| 1962 | Cahiers du cinéma | Annual Top 10 List | François Truffaut | 2nd |
| Mar del Plata Film Festival | Best Film | François Truffaut | Nominated | |
| Best Director | François Truffaut | Won |
Influence
[edit]According to ShortList, "The pacy energy of GoodFellas (1990) was influenced by [Martin] Scorsese’s love of French New Wave cinema, especially François Truffaut’s doomed love triangle classic Jules et Jim. He wanted a similar voiceover to open, along with extensive narration, quick cuts and freeze frame shots."[10]
The film has been cited as an influence on George Lucas.[11]
The production of Jules et Jim was the subject of a documentary directed in 2009 by Thierry Tripod.[12]
Further reading
[edit]- Truffaut, François; Fry, Nicholas (1968). Jules and Jim; a film. New York: Simon and Schuster. ISBN 978-0-671-20089-3.
{{cite book}}: CS1 maint: publisher location (link)
References
[edit]- ^ Box Office information for Francois Truffaut films at Box Office Story
- ^ Bradshaw, Peter (2 February 2022). "Jules et Jim review – Truffaut's love triangle is a whirlwind masterpiece". The Guardian. Retrieved 6 June 2022.
- ^ "Stéphane Hessel, un homme engagé : 'J’ai toujours été du côté des dissidents'" Télérama (March 12, 2011). Retrieved March 17, 2011 (in French)
- ^ "The 100 Best Films Of World Cinema – 46. Jules and Jim". Empire.
- ^ Fry, Nicholas (translator). Truffaut, François and Gruault, Jean (script). Jules and Jim, a film by François Truffaut. New York: Simon and Schuster. 1968. 68-27592. pp. 11-100.
- ^ Allen, Don. Finally Truffaut. New York: Beaufort Books. 1985. ISBN 0-8253-0335-4. OCLC 12613514. pp. 225-226.
- ^ Ginette Vincendeau, speaking on an edition of BBC Radio 3's Nightwaves series, hosted by Philip Dodd, March 2009.
- ^ Crowther, Bosley (24 April 1962). "Screen: 'Jules and Jim'". New York Times. Retrieved 6 June 2022.
- ^ "Jules et Jim". Time. 3 October 2011. Archived from the original on 12 March 2010. Retrieved 15 May 2017.
- ^ "50 (useless but) genius facts about Goodfellas". Shortlist. 11 February 2011. Retrieved 23 August 2012.
- ^ Silberman, Steve. "Life After Darth". Wired. ISSN 1059-1028. Retrieved 9 September 2025.
- ^ "Presentation of the documentary about the shooting of Jules and Jim on Eurochannel". Eurochannel.com. Retrieved 15 May 2017.
External links
[edit]- Jules and Jim at IMDb
- Jules and Jim at the TCM Movie Database
- Jules and Jim on New Wave Film.com
- Centurofy Film, Guardian Unlimited
- On Jules and Jim an essay by John Powers at the Criterion Collection
- Review Archived 20 September 2012 at the Wayback Machine by Roger Ebert
| International | |
|---|---|
| National | |
Jules and Jim
View on Grokipediafrom Grokipedia
Background and Development
Source Material
Henri-Pierre Roché (1879–1959), a French writer, painter, journalist, and art collector deeply embedded in the Parisian avant-garde and modernist circles, published his debut novel Jules et Jim in 1953 at the age of 74.[4][5] The work is semi-autobiographical, drawing directly from Roché's own experiences in early 20th-century Paris, including his intense friendship with the German writer Franz Hessel—whom he met in 1906[6]—and his romantic entanglement with Hessel's wife, Helen Grund, a painter who had studied with Fernand Léger.[7] Roché's multifaceted career as an art advisor, dealer, and collector informed the novel's vivid portrayal of bohemian life in pre-World War I Paris, where intellectuals, artists, and expatriates mingled in cafés and salons.[4][5] He had studied painting at the Académie Julian and maintained connections with figures like Pablo Picasso and Gertrude Stein, elements that infuse the narrative with an authentic sense of the era's artistic ferment.[8][9] At its core, Jules et Jim explores the enduring friendship between two young men—one French, the other Austrian—who navigate a shared bohemian existence marked by intellectual pursuits, travel, and emotional openness.[10] The introduction of a free-spirited woman into their bond forms a love triangle that delves into themes of mutual affection, jealousy, and the ephemeral quality of romantic and platonic relationships, all set against the backdrop of cultural and personal upheaval in Europe.[10][11] Roché's late-life reflection on these events underscores the novel's intimate, confessional tone, capturing the fluidity of desire and loyalty in a pre-war world of artistic liberty.[9]Adaptation Process
In 1956, François Truffaut discovered Henri-Pierre Roché's novel Jules et Jim while browsing in a Paris bookstore, purchasing and reading it in a single sitting.[12] Struck by its themes of love and friendship, he sought out the elderly author, then aged 77, leading to a close personal friendship marked by shared discussions on art, literature, and life.[13] Roché, encouraged by Truffaut's enthusiasm, explicitly approved the young director's plans to adapt the semi-autobiographical work into a film and provided guidance until his death in 1959.[13] Truffaut then collaborated with screenwriter Jean Gruault to develop the adaptation, transforming the novel's intimate prose into a screenplay that emphasized dynamic visual storytelling and emotional depth.[1] Their process involved restructuring the narrative to highlight the characters' evolving bonds through cinematic techniques, while preserving the original's poignant exploration of human relationships.[14] The screenplay established the timeline from 1912 onward, spanning the pre-war bohemian era in Paris to the aftermath of World War I, deliberately integrating the conflict's historical disruptions—such as national divisions and personal losses—to underscore the fragility of the protagonists' lives and affections.[15][14] This contextual framing amplified the novel's themes against the backdrop of early 20th-century upheaval.Narrative Elements
Plot Summary
In 1912 Paris, Austrian writer Jules and French writer Jim form a profound friendship while sharing bohemian pursuits and a mutual fascination with women.[16] They become entranced by a slide projection of an ancient sculpture featuring a woman's enigmatic, enchanting smile, shown by their friend Albert, which prompts them to travel to an island in the Adriatic to see the original statue, becoming a symbol of their ideal love.[1][17] Back in France, they meet the free-spirited Catherine, whose radiant smile mirrors the statue's, drawing both men into her orbit and igniting the beginnings of a complex love triangle.[17] Catherine's unpredictable and passionate nature captivates Jules, leading to their marriage just before World War I erupts, separating the friends as enemies on opposing fronts.[16] After the war, Jim reunites with the couple at their Austrian chalet, where they live with their young daughter, Sabine; however, Catherine's dissatisfaction with the marriage manifests in infidelities, including a growing affair with Jim that strains Jules's devotion.[1] Jules, ever accommodating, consents to a ménage à trois arrangement, allowing Catherine and Jim to live together briefly in Paris, though escalating jealousy and Catherine's volatile moods—highlighted in scenes like her burning Jules's letters in a ritualistic "burning of lies" and a mock suicide leap from a bridge—underscore the fragility of their bonds.[17][16] As the 1930s dawn amid rising political tensions, including a newsreel depiction of Nazi book burnings that foreshadows broader turmoil, the trio's relationships deteriorate further; Catherine's obsession with recapturing Jim's full devotion culminates in tragedy when she deliberately drives their car off a damaged bridge into the river, killing both herself and Jim in a final act of possessive despair.[16][1] The story, narrated through melancholic voiceover, traces the inexorable doom of their love and the erosion of Jules and Jim's once-unbreakable friendship under the weight of unchecked passion, ending with Jules alone, raising Sabine and reflecting on their shared past.[2]Cast and Characters
The principal cast of Jules and Jim (1962), directed by François Truffaut, features standout performances that deepen the film's exploration of friendship, love, and emotional complexity within a decades-spanning love triangle. Jeanne Moreau leads as Catherine, the enigmatic and impulsive woman whose capricious allure drives the central relationships; her portrayal, marked by a natural sensuality and passionate unpredictability, captures the character's willful charm and inner turmoil through subtle expressions and dynamic energy.[18][19] Oskar Werner embodies Jules, the shy and intellectual Austrian writer whose quiet vulnerability highlights his introspective nature and enduring loyalty amid romantic upheaval; Truffaut selected Werner, a respected stage actor admired from his role in Max Ophüls's Lola Montès (1955), for his ability to convey gentle naivety and emotional fragility without overt dramatics.[20][21] Henri Serre, in his film debut, plays Jim, the charming and adventurous French writer whose outgoing vitality contrasts Jules's reserve and propels the trio's interactions; Truffaut cast the relatively unknown Serre after spotting his comedic stage work in a cabaret, drawn to his physical resemblance to the novel's author Henri-Pierre Roché and his innate expressiveness.[1][22] Among the supporting cast, Vanna Urbino portrays Gilberte, Jim's steady and unassuming girlfriend, providing a grounded counterpoint to Catherine's intensity through her understated poise. Boris Bassiak (credited as Serge Rezvani) appears as Albert, Catherine's brief lover, adding a layer of fleeting passion that underscores her restless desires.[23]Production Details
Filming and Locations
François Truffaut directed and produced Jules and Jim, with cinematography by Raoul Coutard and editing by Claudine Bouché.[1][18] Filming took place primarily in 1961, beginning on April 10 and concluding by late June, on a modest budget that relied on loaned locations from friends and minimal resources typical of French New Wave productions.[1][24] The production spanned various sites across France to capture the story's time-spanning narrative from the 1910s to the 1930s, emphasizing period authenticity through practical sets and exteriors despite financial constraints. Key urban scenes were shot on Paris streets, including the bohemian Villa Ottoz in Belleville (now demolished), the Passerelle de la Mare for wandering sequences, the Pont au Double near Notre-Dame for a pivotal river moment, and the Passerelle de Valmy for the iconic foot race across a bridge.[25] Rural filming occurred in the Vosges mountain region, where a German-style chalet served as the primary setting for intimate scenes between mid-May and early June, as well as in La Garde-Freinet in southern France.[1] The film's climactic car crash was filmed on the old ruined bridge over the Seine River at Limay, near Mantes-la-Jolie, adding a stark, natural backdrop to the tragedy. Coutard's cinematography employed innovative handheld camera work and natural lighting to achieve fluid, dynamic movement in black-and-white Scope format, enhancing the film's sense of spontaneity and emotional intimacy on a limited budget.[26][1] Challenges included coordinating multiple location shifts and actor injuries, such as sprains and infections, while recreating early 20th-century aesthetics through practical means like borrowed props and minimal art direction.[1] The resulting 105-minute film features dialogue in both French and German, reflecting the characters' nationalities and the story's cross-cultural themes.[27][18]Music and Sound Design
The original score for Jules and Jim was composed by Georges Delerue in 1961, in close collaboration with director François Truffaut, marking one of their ten joint projects spanning 1959 to 1983.[28] Delerue's music features delicate instrumentation including flute, piano, and strings, creating motifs that underscore the film's themes of melancholy and passion—such as a mysterious flute phrase evoking mystery and a piano-strings combination heightening emotional scenes.[29][30] This approach was praised for capturing the era's bohemian spirit through its lyrical and rapturous quality, without overpowering the visuals, as the score functions as an obbligato to the action, carrying much of the emotional content.[31][32] A key element of the score is the theme song "Le Tourbillon," performed by Jeanne Moreau as Catherine, with guitar accompaniment and lyrics reflecting the whirlwind of love and fascination.[19] The song's playful yet poignant melody enhances the character's enigmatic allure and the narrative's exploration of romantic chaos. Delerue's overall composition propels the film's lyrical energy, blending joy and sorrow to mirror the characters' passionate entanglements.[2] The sound design emphasizes natural ambient noises and sparse dialogue to foster intimacy, complemented by voiceover narration delivered by Michel Subor, whose literary tone echoes the on-screen dialogue and adds reflective depth.[19] This minimalistic approach heightens emotional immediacy, allowing environmental sounds—like ocean waves or urban bustle—to underscore pivotal moments, such as the bridge sequence where music swells amid ambient tension.[33] The voiceover's intimate melancholy further adores the characters' bohemian pursuits while foreshadowing tragedy, creating a whirlwind atmosphere of love and fate.[2]Artistic Style
French New Wave Techniques
The French New Wave, or Nouvelle Vague, emerged in the late 1950s and early 1960s as a cinematic movement in France, characterized by its rejection of conventional studio filmmaking in favor of low-budget productions, on-location shooting, and deeply personal, auteur-driven storytelling. Led by former film critics such as François Truffaut and Jean-Luc Godard, the movement prioritized directorial vision over polished narratives, drawing inspiration from Italian Neorealism and American film noir to capture authentic, fragmented experiences of modern life.[34][35][36] This post-World War II phenomenon was profoundly shaped by the journal Cahiers du Cinéma, where Truffaut and others advocated for the "politique des auteurs," emphasizing the director as the film's primary creative force and critiquing the formulaic "Tradition of Quality" in French cinema. The movement's techniques, including handheld cameras for dynamic mobility and minimal establishing shots, allowed for naturalistic performances and a sense of immediacy, often achieved through unrehearsed scenes and basic sound recording.[34][36][35] François Truffaut's Jules and Jim (1962), his third feature film following The 400 Blows (1959) and Shoot the Piano Player (1960), exemplifies these principles through innovative editing that conveys the characters' turbulent emotions. The film employs jump cuts to disrupt continuity and heighten the pace of high-spirited sequences, freeze-frames to pause and underscore fleeting moods—such as in a dominoes scene where still images overlay laughter—and subtle non-linear elements via voice-over and transitional devices to deepen the narrative's emotional fragmentation. Released in 1962, Jules and Jim stands as a pivotal work of the New Wave, blending personal intimacy with experimental form to redefine cinematic storytelling.[1][37][35]Visual and Narrative Innovation
Jules and Jim employs wide-screen black-and-white cinematography, shot by Raoul Coutard, to juxtapose intimate close-ups of the characters with expansive landscapes, thereby symbolizing the vast emotional terrains navigated by the protagonists.[38] This visual approach, characterized by fluid, hand-held camera movements, breaks from conventional Hollywood framing to create a dynamic sense of immediacy and spatial depth.[17] The film's narrative innovations include a prominent voiceover narration that conveys internal thoughts and accelerates the story across decades, providing psychological depth without overt exposition.[17] Rapid montage sequences, incorporating newsreel-style footage, compress time periods such as the World War I years, evoking the era's chaos while propelling the plot forward.[17] Symbolic motifs, notably the ancient Adriatic statue with its enigmatic smile, recur as an emblem of elusive ideal love, mirroring the characters' unattainable romantic aspirations.[17] Truffaut masterfully blends tragedy and whimsy through innovative pacing that echoes the volatility of the central relationships, using freeze-frames as poignant snapshots to mark fleeting moments amid temporal leaps.[17] This culminates in the film's controversial abrupt ending, where a sudden act of destruction shatters the preceding lightness, underscoring the fragility of human bonds.[17] Such techniques reflect the French New Wave's experimental ethos, prioritizing emotional resonance over linear coherence.[39]Release and Reception
Premiere and Box Office
Jules and Jim received its French release on January 23, 1962, distributed by Cinédis.[40] The film was Truffaut's follow-up to the critically acclaimed The 400 Blows, marketed to art-house audiences through energetic promotion, including Truffaut's personal travels to cities across Europe, South America, and New York to build buzz for its innovative New Wave style.[41][1] In the United States, the film opened in New York on April 23, 1962, distributed by Janus Films, which helped establish it as a key arthouse import.[22] Produced on a modest low budget by Films du Carrosse, with locations often loaned by friends and a minimal crew, it quickly recouped costs through strong domestic and international earnings, achieving 1,567,176 admissions in France alone.[1][42] Its commercial viability contributed significantly to the French New Wave's reputation beyond critical circles, with a major four-week exclusive run in New York underscoring its appeal.[1] Critical acclaim further boosted attendance, solidifying its status as a worldwide smash.[18] The film's success was sustained over time by revivals in art-house theaters.Critical Response
Upon its release in 1962, Jules and Jim received widespread acclaim from French critics, who celebrated it as a pinnacle of the French New Wave for its innovative storytelling and emotional resonance. Publications such as Arts described it as "a celebration of tenderness and intelligence," while L’Express called it "the first engaging film of the New Wave."[1] In the United States, Bosley Crowther of The New York Times praised the film's emotional depth as "charming, exciting and sad," particularly highlighting Jeanne Moreau's bewitching performance and Georges Delerue's score for carrying much of the emotional content.[31] However, some contemporary reviewers, including Crowther, noted uneven pacing due to lengthy conversations and a commentator's voice-over that could feel tedious and overly stylized.[31] Retrospective assessments have solidified Jules and Jim's status as a landmark of cinema. In 2010, Empire magazine ranked it #46 on its list of the 100 Best Films of World Cinema, commending its enduring stylistic verve.[43] Roger Ebert, in his "Great Movies" essay, lauded the film's vitality, stating there is "joy in the filmmaking that feels fresh today and felt audacious at the time," and praised its nimble exploration of love and loss over 25 years.[17] While celebrated for its formal innovations, later critiques have pointed to dated gender portrayals, with some viewing the female characters, particularly Catherine, as grotesques or reduced to male fantasies, reflecting the film's male-centric perspective.[44] The overall critical consensus remains highly positive, with a 94% approval rating on Rotten Tomatoes based on 51 reviews as of 2025 aggregates, often highlighting Moreau's captivating performance and Truffaut's direction as key strengths.[27] This acclaim contributed to the film's box office success, driven by positive buzz in France despite an 18+ rating.[1]Recognition and Legacy
Awards and Nominations
Jules and Jim garnered recognition from various international film awards bodies in the early 1960s, highlighting its innovative storytelling and standout performances, especially Jeanne Moreau's portrayal of Catherine, which earned praise for its depth and contributed to acting accolades. The film did not receive Academy Award nominations, a common occurrence for French New Wave productions during that era due to the Academy's preferences for more conventional foreign films. In 1962, the film won the Étoile de Cristal for Best Film, a prestigious French cinema prize awarded by the Académie du Cinéma.[45] Jeanne Moreau also received the Best Actress award at the Étoile de Cristal.[45] François Truffaut won Best Director at the Mar del Plata International Film Festival. The following year, 1963, brought further honors. At the BAFTA Awards, the film was nominated for Best Film from Any Source, and Moreau was nominated for Best Foreign Actress.[46] It won the Bodil Award for Best European Film from the Danish Film Critics Guild.[3] Additionally, director François Truffaut won Best Foreign Director at the Mar del Plata International Film Festival and the Silver Ribbon for Best Foreign Director from the Italian National Syndicate of Film Journalists.| Year | Award | Category | Recipient | Result |
|---|---|---|---|---|
| 1962 | Étoile de Cristal | Best Film | Jules and Jim | Won[45] |
| 1962 | Étoile de Cristal | Best Actress | Jeanne Moreau | Won[45] |
| 1962 | Mar del Plata International Film Festival | Best Director | François Truffaut | Won |
| 1963 | BAFTA Awards | Best Film from Any Source | Jules and Jim | Nominated[46] |
| 1963 | BAFTA Awards | Best Foreign Actress | Jeanne Moreau | Nominated[46] |
| 1963 | Bodil Awards | Best European Film | Jules and Jim | Won[3] |
| 1963 | Italian National Syndicate of Film Journalists | Best Foreign Director | François Truffaut | Won[3] |