Mississippi Mermaid (1969)

A wealthy plantation owner is captivated by a mysterious woman with a shady past.

Director:

François Truffaut

Writers:

Cornell Woolrich (based on the novel by) (as William Irish), François Truffaut (adaptation)

Stars:

Catherine Deneuve, Jean-Paul Belmondo, Nelly Borgeaud

Cast

Complete credited cast:
Jean-Paul Belmondo	...	Louis Mahé
Catherine Deneuve	...	Julie Roussel / Marion Vergano
Nelly Borgeaud	...	Berthe
Martine Ferrière	...	Landlady
Marcel Berbert	...	Jardine
Yves Drouhet	...	Detective
Michel Bouquet	...	Comolli
Roland Thénot	...	Richard

Storyline

Louis Mahe is a tobacco planter at Reunion Island. He is waiting for Julie Roussel to marry him. 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.

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Plot Keywords:

self destructiveness | woman | aix en provence | confidence woman | assumed identity | 

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Taglines:

The Bride Came as Advertised...With an Unadvertised Special

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Genres:

Crime | Drama | Romance

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Motion Picture Rating (MPAA)

Rated R for some nudity/sexuality

Details

Country:

France Italy

Language:

French

Release Date:

18 June 1969 (France)

Also Known As:

Mississippi Mermaid

Filming Locations:

Sainte-Anne church, Sainte Anne, La Réunion, France

Box Office

Budget:

$1,600,000 (estimated)

Opening Weekend USA:

$11,206, 25 April 1999

Gross USA:

$33,725

Cumulative Worldwide Gross:

$33,725

Company Credits

Production Co:

Les Films du Carrosse, Les Productions Artistes Associés, Produzioni Associate Delphos

Technical Specs

Runtime:

123 min

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

Quite uniquely, director François Truffaut chose to shoot the film almost completely in chronological order. The reasoning for this was that he found the relationship between the two main characters so important, he wanted it to develop in a natural way. Truffaut actually spent the nights re-writing the scenes he would film the next day, to follow the dynamics between the leading couple.

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Goofs

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.

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Quotes

Louis Mahé: 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.
Julie Roussel: 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!
Louis Mahé: 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 ...
[...]

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Alternate Versions

SPOILERS: In some versions of this film, the image of the comic strip in the newspaper that makes Belmondo's character realize his wife has been poisoning him has been removed. The probable reason is that the whole idea is a bit naive and absurd, although without this image it is impossible to explain how the man finds out that he has been poisoned. (As the comic strip in question involves Disney-related art of Snow White being offered the poisoned apple by the Witch, the removal of the cartoon in some versions is more likely due to issues involving Disney's copyright.)

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Connections

Referenced in Cinemania (2002)

User Reviews

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.