Francois Truffaut is best known as one of the founders of the French New Wave – a movement that redefined cinema forever. Films like The 400 Blows and Jules and Jim showcase what the iconic style is best known for, stories that feel true and honest to everyday human experience, displayed in a way that favours naturalism over sentimentality. Mississippi Mermaid, one of his lesser thought of films (despite being remade in English as Original Sin, starring Angelina Jolie and Antonio Banderas), applies that same naturalism but infuses it with a fantastical narrative that plays out to create an intriguing, albeit confusing, romantic crime thriller.
Mississippi Mermaid, set on the French colonial island of Reunion, follows tobacco-planter Louis Mahé (Jean-Paul Belmondo). Despondent at his romantic past, he finds himself looking for love in alternative means, means that lead to him proposing to Julie Roussel, whom he has only communicated with via letter. However, when Julie shows up on the island, ready to get married, it is not the mousy brunette he is expecting from the photos, but rather an elegant, mysterious blonde (Catherine Deneuve). Despite the catfishing confusion, Louis and Julie still marry, marking a new path for Louis that will alter its life forever…
The first act of the film, which takes place solely in Reunion, functions like a classic film noir, comparable to the likes of Double Indemnity or Vertigo, with Deneuve's Rouselle functioning as our femme fatale. From musical cues, the character making unexplained trips away from the house, and the subtlety of her gaze, by the time Julie Rouselle is uncovered to be a ruse, we could see it coming a mile off. That being said, while the plot point is predictable, the build up to it is tenderly and brilliantly done, the intrigue tangibly felt by the viewer as new questions arise by the minute.
However, once the film shifts location to mainland France, it also completely shifts in tone, and in many ways, genre too. The rest of the film is much more like a romantic drama than it is a mystery. It still bears its shades of noir, particularly in the grey morality of our heroine, and the toxic nature of the main couple's relationship, but the truths of the matter are revealed to us fairly quickly. This is not to say that the film becomes less interesting though. In fact, its portrayal of the lure of a dangerous woman is played out in an engaging and erotic way, aided by the natural chemistry between Belmondo and Deneuve as the leads. With a detective (Michel Bouquet) on their tail, there is a sustained tension from external factors, as well as the internal conflicts caused by the stark difference in character and histories between our lovers.
Both the noir beginning and romance end make for fascinating storytelling. However, the film suffers from the strained cohesion between the two parts. As well as this, the final act of the film feels cloying and repetitive, falling back into story beats we have already seen an hour earlier.
What Mississippi Mermaid lacks in its narrative quality however, is made up for with the sheer likeability of its ensemble. Louis could easily be seen as pathetic, a whipped fool who constantly goes back to a woman who is no good for him. And yet, Belmondo manages to imbibe him with a truly personable quality, where we are endeared to his softness rather than put off by it. Similarly, Deneuve's portrayal of Julie could easily become a standard villain, but we believe the love story because of how this actress pours charisma and heart into the role. A talented costuming team also help to add to the charm and charisma of the lovers: they always look impeccable, with a distinct sense of style that transcends the clothing into the rest of the film.
From a technical perspective, it bears the marks of the French New Wave movement proudly, while clearly also influenced by Hollywood directors like Hitchcock. The cinematography captures both the genres the film embodies, making the mystery deeply romantic, and giving the romantic aspect a bit of edge. Particularly memorable are the use of mirrors in the scenes in which Louis confronts Julie and discovers the truth of who she is. The film's editing, however, is somewhat jarring, with scenes often just cutting in unusual places, or fading to black. Whether this is a decision made with the intent of unsettling the viewer, this reviewer is unsure, but that was certainly the effect it had.
Overall, it's a compelling film for the majority of its runtime, and it is clear evidence of Truffaut's skills and compassion as a filmmaker. However, the last half hour significantly weighs it down, with its melodrama losing its charm, and a dissatisfying conclusion. Still, Deneuve and Belmondo make it well worth the watch and this re-release via Radiance serves as a perfect opportunity to explore this oft-forgotten film from a legendary filmmaker.
Special Features include:
- Archival interview with Truffaut from 1969 in which the filmmaker discusses his work as a director, screenwriter and actor (1969, 34 mins)
- Archival interview with Jean Renoir who discusses the work of Truffaut (1969, 6 mins)
- Interview with French cinema expert Ginette Vincendeau (2024)
- Audio commentary by critic Glenn Kenny (2024)
- Original trailer
- Reversible sleeve featuring designs based on original posters
- Limited edition booklet featuring archival writing by Truffaut and contemporary writing on the film
Mississippi Mermaid is out now from Radiance Films
