Louis Mahe is a tobacco planter at Reunion Island. He is waiting for Julie Roussel to marry her. He only knows her by mail. The woman that comes does not like the picture he got, but he ... See full summary »
Claude Massoulier is murdered while hunting at the same place than Julien Vercel, an estate agent that knew him and whose fingerprints are found on Massoulier's car. As the police discovers... See full summary »
Charlie Kohler is a piano player in a bar. The waitress Lena is in love with him. One of Charlie's brother, Chico, a crook, takes refuge in the bar because he is chased by two gangsters, ... See full summary »
During the hot summer, 5 kids, "Les Mistons", spy on two lovers. They follow Gerard and Bernadette everywhere. Les Mistons send a suggestive postcard to Bernadette once Gerard is away. But ... See full summary »
Jean Lerat de la Grignotière is as full of himself as his name is long. Heeding (somewhat reluctantly to be true) the call of the Motherland he goes to the barracks where he is to ... See full summary »
Claude de Givray,
Christian de Tillière,
This short film is the first segment of five in the multinational feature Love at Twenty (1962), all five segments on the theme of first adult love. After indulging in much delinquency in ... See full summary »
Louis Mahe is a tobacco planter at Reunion Island. He is waiting for Julie Roussel to marry her. He only knows her by mail. The woman that comes does not like the picture he got, but he marries her anyway. Soon, she flees with Louis' money. She was not the real Julie Roussel but Marion. Louis tries to find her... Another Truffaut's film about passion. Written by
Quite uniquely, Truffaut chose to shoot the film almost completely in chronological order, the reason being that he found the relationship between the two main characters so important that he wanted it to develop in a natural way. He actually spent the nights re-writing the scenes he would film the next day, to follow the dynamics between the leading couple. See more »
When the disc Marion has recorded is run over in the street and shattered, she kneels to retrieve the pieces; at first her right knee is uppermost, but then suddenly her left knee is higher, as she stands. See more »
Here we go. You're sulking. I knew it. Now you're just pretending to be mad because inside you're not really mad. You put on that cold look... but inside you're smiling. Come on. Show me your smile.
I'm fed up with all that smile crap! It doesn't work anymore! Don't speak to me. For Christ's sake, leave me alone!
All right. Okay. That's fine with me. It's not difficult to know what you're thinking of me. And you're asking yourself... "Why the hell am I with this guy who's broke... and can't ...
[...] See more »
I've slowly been collecting the films available on DVD of both Catherine Deneuve and Francois Truffaut. Both actress and director have done some stinkers in their time - fortunately Mississipi Mermaid is not one of them.
Next to "The Soft Skin", coincidentally staring Deneuve's sister (the late Francoise Dorleac), this would have to be my favourite Truffaut film.
As well as directing, Truffaut also wrote the screenplay. Something that always strikes me about Truffaut is his almost childlike innocence when presenting a story -- one could almost call it naivety.
There's a scene towards the end of the film where Belmondo returns to the apartment in Lyon with the remains of the loot. He rings the doorbell and Deneuve answers wearing a negligee. In the time it takes Belmondo to reach their room from the street, Deneuve changes into her dress, puts on her best pair of stockings and shoes, then lies on the bed and pretends she is asleep. It's a scene that could almost come from the mind of a child - but that's Truffaut for you.
Watching Catherine Deneuve in her films of the late 60's is indeed a sensory pleasure. She is so extraordinarily beautiful it is almost painful for us to watch. Incidentally, for those fans, there are a couple of topless scenes of her in this film - indeed a sinful pleasure.
I disagree with previous posters. I see nothing 'Hitchcockian' about the film at all. As for the 'look' of it - i love the look of the older film stock used in the 60's. It certainly gives films of this period a unique look.
Highly recommended for both Deneuve and Truffaut fans......
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