A considerar - 1

Like the cadences of Georges Delerue's score, Truffaut is always inquiring, using the 20-year relationship of a prickly threesome as the jumping-off point for head-spinning moral and sexual scrutiny. If Jules is the Don Quixote to Jim's Sancho Panza, then Catherine is their windmill: Always tilting toward her, the men are oblivious that she is the apotheosis of obscure objects of desire. This free spirit drops clues like bread crumbs (she admires a character in a play for her ability to invent her own life), but Jules and Jim, victims of their culture-vulture precepts, readily ignore them. Duped by their civility, these men ask for Catherine to bulldoze their ideals.

A woman is a woman to Godard, but Truffaut saw deeper. Catherine is autonomous, using her sex as leverage to claim a man's sense of freedom. Truffaut doesn't typecast Catherine as a feminist or a repudiation of one. She is wild, passionate, maybe even a little mad, but always straight—which is to say, she is more real than anyone in the film's carnival of souls. But she is above all a romantic, and like another famous Catherine familiar to fans of Emily Bront and Kate Bush, her love is potentially metaphysical. Daring us to understand her, Catherine shatters traditional views of women [sublinhado meu], just as Jules and Jim's visual panache destroyed conventional opinions of film art.

Ed Gonzalez no Village Voice de 12 de Dezembro