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 »
Antoine Doinel joined the army but has just been discharged. The film tells his reunion with Christine Darbon, the girl he was in love with before the beginning of the film, and his ... See full summary »
Stanislas Previne is a young sociologist, preparing a thesis on criminal women. He meets in prison Camille Bliss to interview her. Camille is accused to have murdered her lover Arthur and ... 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 »
Antoine Doinel is now more than thirty. He divorces from Christine. He is a proofreader, and is in love with Sabine, a record seller. Colette, his teenager love, is now a lawyer. She buys ... See full summary »
Pierre Lachenay is a well-known publisher and lecturer, married with Franca and father of Sabine, around 10. He meets an air hostess, Nicole. They start a love affair, which Pierre is hiding, but he cannot stand staying away from her.
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 »
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,
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
The original French title is spelled "La Sirène du Mississipi" (one P) in some sources, and "La Sirène du Mississippi" (two Ps) in other sources. 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 »
Horrible Title, wanders a bit, remains interesting.
This must be one of the most horribly titled films of all time. The kind of title that ruins a film because it neither evokes the plot nor the characters. A title like this makes a film flop, even the French title is not much better. Too bad - Truffaut & Deneuve must have been enough to sell it..
This is a long film, but largely worth it. Clearly influenced by Hitchcock, we have an intercontinental story about a personal ad bride, her rich husband, a theft, an identity switch, and obsessive love. The plot here is actually very good, and takes us on an unexpected trip.
The thing that works both for and against the movie is the focus on the relationship. It is an interesting study in how these plot developments are played out in "real life relationship" with these two people. Unfortunately, this is what bogs the film down, and makes it ultimately dissatisfying. We do like films to have a real sense of finality, and that is missing here.
It was the case in many of her films that Deneuve became a canvas for Directors to play their fantasies out on, and this time it doesn't work as well. Messy here, is the fact that the Director clearly just wanted to have Deneuve take her top off a few times. Deneuve is an actress who always seems very deliberate and thoughtful, so these attempts to make her seem spontaneous fall flat.
Basically, the script needed to be worked out better before shooting began, to make this film tighter and shorter and to snap. But Truffaut didn't snap, did he? So - it wanders a bit, but remains interesting.
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