Mississippi Mermaid (La Sirène du Mississipi) (1969)
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Critic Reviews for Mississippi Mermaid (La Sirène du Mississipi)
The redemptive power of love is joined with a stifled guffaw of irony.
Mississippi is a film noir shot in dazzling color, a Hitchcock movie with the soul of a Jean Renoir drama.
Try to view this tale of a siren's song as something chewier than a cover version of Hitch's greatest hits, and what's left is a facile take on l'amour fou.
It defies easy definition and blithely triumphs over what initially appears to be structural schizophrenia. It is the creation of a superior moviemaker who works eccentrically in the classical tradition.
One of the director's weakest films.
Audience Reviews for Mississippi Mermaid (La Sirène du Mississipi)
This was Francois Truffaut's take on the same material that was later filmed as Original Sin with Angelina Jolie and Antonio Banderas, but this more subdued version was a bit more watchable in my estimation, even if I wasn't ever 100% sold on the idea that these two were so in love that they would continue to sacrifice for one another, but maybe I just need to give it another peep and see if it grows on me. Definitely worth a rental.
A man mail-orders a wife who rather quickly steals his fortune. He pursues her, and they begin a cat-and-mouse courtship. Critics seem to suggest that this is either Truffaut imitating Hitchcock, a unique love story, or both. For me, the Hitchcockian plot is easy to stay ahead of; the film doesn't offer many surprises, and when it attempts to, they seem contrived and forced. Likewise, the love story lacks any chemistry. I spent most of the film wondering what allure Julie has aside from Catherine Deneuve's rather attractive physique, and from her point of view, how is Jean-Paul not just another obsessive mark? Also, I'm wondering about the comparisons of Truffaut to Hitchcock regarding this film from a directing point of view. Hitch's trademarks were his incredibly well-framed shots, which revealed and concealed with precision, and deft camera movement. Truffaut often sets the camera on a tripod and says, "Action." I think this works well in the Antonin Doinel films, which are more about character than plot, but it falls flat in this noir-ish snore. However, I did like the ending, but for fear of spoiling, I shall not say why. Overall, this film fails to meet any expectations -- high ones like Truffaut's reputation and its comparison to Hitchcock and low ones like what I'd expect any time I start to watch a film.
I'm not sure sure, but I pretty confident that Original Sin (2001) was remake of this film. Original Sin sucked but Mississippi Mermaid is a solid film.
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