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<\/figure><\/div>\n\n\n\nA j\u00f3 k\u00e9t \u00e9vtizedet \u00e1tfog\u00f3 t\u00f6rt\u00e9net nem el\u0151re halad, a j\u00f6v\u0151be, hanem \u2013 mint a filmbeli g\u0151zmozdony \u2013 h\u00e1trafel\u00e9, a m\u00faltba. A nosztalgikus m\u00faltid\u00e9z\u00e9st a kameramozg\u00e1s is hangs\u00falyozza. A felvev\u0151g\u00e9p, amely Jules szob\u00e1j\u00e1ban 360 fokos eg\u00e9szfordulattal p\u00e1szt\u00e1zza v\u00e9gig a helyis\u00e9get, m\u00e1r a film legelej\u00e9n sugallja az \u00f6nmag\u00e1ba visszat\u00e9r\u0151 k\u00f6r k\u00e9pzet\u00e9t.\u201d (\u00c1d\u00e1m P\u00e9ter) Les tourbillon de la vie \u2013 Az \u00e9let \u00f6rv\u00e9nye(?)\u2013 \u00e9nekeli Catherine. (A t\u00f6rt\u00e9net 1914-ig ny\u00falik vissza!) \u201eVisszaford\u00edthat\u00f3s\u00e1g \u2013 meglehet, ez a legf\u0151bb jellemz\u0151je a Catherine k\u00f6r\u00e9 \u00e9p\u00edtett cselekm\u00e9ny idej\u00e9nek; nem csoda, hogy a visszaford\u00edthat\u00f3 id\u0151nek a homok\u00f3ra a filmi szimb\u00f3luma. Az is az id\u0151 mozdulatlans\u00e1g\u00e1nak k\u00e9pzet\u00e9t er\u0151s\u00edti, hogy a szerepl\u0151k (a rendez\u0151i sz\u00e1nd\u00e9knak megfelel\u0151en) nem \u00f6regszenek. \u2026<\/p>\n\n\n\n Csak ennek az archaikus id\u0151-fogalomnak a f\u00e9ny\u00e9ben \u00e9rteni meg igaz\u00e1n, mi\u00e9rt olyan nagy a filmben a j\u00e1t\u00e9k szerepe. Jelmezek, grimaszol\u00e1s, fut\u00f3verseny, \u00e9s f\u0151leg a k\u00e9t f\u00e9rfi kedvenc id\u0151t\u00f6lt\u00e9se, a domin\u00f3 \u2013 a j\u00e1t\u00e9k az eg\u00e9sz filmen v\u00e9gigvonul. \u00c9s m\u00e9gis, olyan \u00e9rz\u00e9se van az embernek, mintha a filmben ez a medd\u0151 domin\u00f3z\u00e1s volna a felh\u0151tlen boldogs\u00e1gnak, az \u00e9let beteljes\u00fcl\u00e9s\u00e9nek jelk\u00e9pe. M\u00e1rpedig a j\u00e1t\u00e9k, amelynek nincs semmi t\u00e9tje, amely alkotni semmit sem alkot, \u00e9s nem szolg\u00e1l semmi tanuls\u00e1ggal, felf\u00fcggeszti az id\u0151t, elszigetelve a realit\u00e1st\u00f3l a pillanatot. A j\u00e1t\u00e9k ideje a mechanikus ism\u00e9tl\u0151d\u00e9s\u00e9, az \u00e1lland\u00f3 \u00fajrakezd\u00e9s\u00e9, nem pedig a fejl\u0151d\u00e9s\u00e9, a tapasztalatszerz\u00e9s\u00e9. A szerepl\u0151k \u00e9pp az\u00e9rt \u0151rizhetik meg irre\u00e1lis fiatals\u00e1gukat, mert bens\u0151leg sem hagy nyomot rajtuk a m\u00fal\u00f3 id\u0151.\u201d<\/p>\n\n\n\n A film f\u0151szerepl\u0151je, Catherine: Jim: \u201eMindig \u00fagy besz\u00e9lsz Catherine-r\u00f3l, mintha kir\u00e1lyn\u0151 volna\u201d. Jules: \u201eDe h\u00e1t csakugyan kir\u00e1lyn\u0151, Jim! Catherine nem k\u00fcl\u00f6n\u00f6sebben sz\u00e9p, nem k\u00fcl\u00f6n\u00f6sebben okos, \u0151szint\u00e9nek sem \u0151szinte, de minden porcik\u00e1j\u00e1ban n\u0151 [\u2026]. Mindegyik f\u00e9rfi ilyen n\u0151re v\u00e1gyik. Vajon m\u00e9rt \u00e9pp minket aj\u00e1nd\u00e9kozott meg \u00f6nmag\u00e1val, amikor \u00e1lland\u00f3an rengeteg f\u00e9rfi ny\u00fczsg\u00f6tt k\u00f6r\u00fcl\u00f6tte? Mert mi mindig is \u00fagy b\u00e1ntunk vele, mint egy kir\u00e1lyn\u0151vel.\u201d Catherine d\u00e9mon \u00e9s Madonna, anya \u00e9s femme fatale egyszerre. Tragikus h\u0151s, igazi extr\u00e9m l\u00e1zad\u00f3, \u201eaki szeretne \u00faj form\u00e1t adni a szerelemnek, de v\u00e9g\u00fcl elbukik.\u201d A Jules \u00e9s Jim v\u00e9g\u00fcl Truffaut k\u00f3rk\u00e9pe lesz, \u201el\u00e1tlelet, egy zsarnokian \u00f6nz\u0151, szeretetre k\u00e9ptelen, szesz\u00e9lyesen kisz\u00e1m\u00edthatatlan, k\u00edm\u00e9letlen\u00fcl \u00f6nk\u00f6zpont\u00fa \u00e9s bossz\u00fa\u00e1ll\u00f3 n\u0151 portr\u00e9ja.\u201d \u2013 \u00edrja \u00c1d\u00e1m P\u00e9ter. A film francia fogadtat\u00e1sa k\u00f6zepes. N\u00e9metorsz\u00e1gban, Angli\u00e1ban, Belgiumban \u00e9s Sv\u00e9dorsz\u00e1gban \u00f3ri\u00e1si siker. Olaszorsz\u00e1gban kis h\u00edj\u00e1n betiltj\u00e1k. Csak Alberto Moravia \u00e9s Roberto Rossellini tiltakoz\u00e1s\u00e1ra enged\u00e9lyezik a vet\u00edt\u00e9st. Truffaut bar\u00e1tai szuperlativuszokban \u00e1radoznak r\u00f3la. Jean Renoir elismer\u0151 level\u00e9t Truffaut \u00e9vekig \u0151rzi majd a zak\u00f3ja bels\u0151 zseb\u00e9ben: \u201ea Jules \u00e9s Jim olyan pontos \u00e1br\u00e1zol\u00e1sa a jelenkori francia t\u00e1rsadalomnak, amilyenhez foghat\u00f3t m\u00e9g nem l\u00e1ttam moziban.\u201d 1914-ben dolgozza ki Sigmund Freud \u201ea pszichoanal\u00edzisnek a modern t\u00e1rsadalom (\u00e9s tegy\u00fck hozz\u00e1: a Jules \u00e9s Jim) meg\u00e9rt\u00e9s\u00e9hez n\u00e9lk\u00fcl\u00f6zhetetlen alapfogalm\u00e1t, a n\u00e1rcizmust \u2026\u201d<\/p>\n Sz\u00e1sz Csongor<\/p>\n","protected":false},"excerpt":{"rendered":" Szabadka\/2021.12.29 Fran\u00e7ois Truffaut: Jules \u00e9s Jim, francia filmdr\u00e1ma, 105 perc, 1962. \u201eMost fordul el\u0151 velem harmadszor, abban a hiszemben v\u00e1gok bele egy filmbe, hogy csupa der\u0171 lesz, \u00e9s csak menet k\u00f6zben veszem \u00e9szre, hogy...<\/p>\n","protected":false},"author":3,"featured_media":1802,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[8,9],"tags":[],"class_list":["post-1796","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kurbli","category-kurbli-filmklub"],"featured_image_src":"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2022\/01\/jules-et-jim-bridge-1108x0-c-default.jpg","featured_image_src_square":"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2022\/01\/jules-et-jim-bridge-1108x0-c-default.jpg","author_info":{"display_name":"Kari","author_link":"https:\/\/ctalker.org\/rs\/author\/karina\/"},"_links":{"self":[{"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts\/1796","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/comments?post=1796"}],"version-history":[{"count":2,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts\/1796\/revisions"}],"predecessor-version":[{"id":1804,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/posts\/1796\/revisions\/1804"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/media\/1802"}],"wp:attachment":[{"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/media?parent=1796"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/categories?post=1796"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ctalker.org\/rs\/wp-json\/wp\/v2\/tags?post=1796"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2022\/01\/01-540.jpg\")
<\/figure><\/li>![\"\"](\"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2022\/01\/images-10.jpg\")
<\/figure><\/li><\/ul><\/figure>\n\n\n\n![\"\"](\"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:1024\/h:683\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2022\/01\/Jeanne-Moreau-in-Jules-et-Jim-directed-by-Francois-Truffaut-1962-by-tree-1.jpg\")