This film was made by the great Francois Truffaut. It is worth seeing just for Jean-Paul Belmondo and the young and beautiful Catherine Deneuve.

"Julie, you are adorable," says Louis Mahe (Jean-Paul Belmondo) to his beautiful new mail-order bride, Julie Rousel (Catherine Deneuve). "Do you know what that means? `Adorable'. It means worthy of adoration." Louis is a wealthy tobacco grower and cigarette manufacturer on the French island of Reunion in the Indian Ocean. When Julie arrived on the island, she didn't look like the photograph she had sent him when she agreed to be his wife. She says she was timid and decided to send the photograph of her sister. Louis is enchanted by her beauty and understands her caution. They marry, and Louis becomes a husband deeply happy. He tells her she is worthy of adoration just a day or two after he arranges to change his personal and business accounts into joint accounts. That evening, Julie has disappeared, cleaning out both accounts. Louis goes to France, has a breakdown, and then by chance sees Julie in a newscast about a new nightclub and the women there who are hostesses. Louis learns she is really a woman named Marion Vergano. Marion's history would lead only the most obsessed of men to think a happy ending could be in the cards. Most of the movie places us in France after Louis has found her and accepted her as Marion Vergano

Mississippi Mermaid, written and directed by Francois Truffaut, is a movie of Louis' obsession, of sexual psychosis, of parasitic selfishness, of stolen identity and of rat poison, with a lot of self-revealing (some of it even true) dialogue thrown in. As much as I think comparing one director to another is usually pointless, in this case Truffaut may have watched Vertigo, Psycho and Marnie once too often. Still, murder at the top of the stairs, the star power of Deneuve and Belmondo and some eccentric passing opinions (Louis thinks Johnny Guitar is "a love story, with lots of feeling in it."), all handled with Truffaut's characteristic confidence isn't something to pass by. The downside is that Mississippi Mermaid, despite all of its advantages, at times veers too close to melodramatic parody.

"You mustn't cry, my dear. It's your happiness I want, not your tears."

"I'm learning what love is, Louis. It's painful. It hurts me." It sounds better in French, but the meaning is just as soppy.

Truffaut adapted his movie from the pulp mystery novel, Waltz into Darkness, by Cornell Woolrich writing as William Irish. The movie didn't do too well the first time out, but then underwent a rediscovery of sorts. Unfortunately, that meant articles by people who teach film studies at universities. One such person wrote, "[Mississippi Mermaid] remains a fascinating exploration of the major themes essayed by movie melodramas of betrayal - a sort of distillation of the amoral nucleus of Double Indemnity and the wilder settings of Key Largo." Distillation of the amoral nucleus? I don't even know what an amoral nucleus is. The salient point, for me, is that films such as Double Indemnity and Key Largo are above all else tightly told stories. I think Truffaut with Mississippi Mermaid started with a nice, nasty, obsessional pulp tale, but then tried to do too much with it.

The DVD is not anamorphic. The transfer is nothing special. There are no extras.

I'm a huge fan of french new wave, especially Goddard and Truffaut- this is one of Truffaut's very best. Here he combines romance, passion, and suspense like no other director could. Catherine Deneuve and Jean-Paul Belmondo have always given excellant performances, and this is no exception. Their intensity and chemistry together is amazing.

I have not seen the DVD. I saw the classic Mermaid on its initial run in the theatres, and the impression continues to haunt me 30 years later. I attribute the impact almost entirely to Mlle Deneuve's diabolical portrait of an utterly lost soul. Of her massive cannon of femme noir performances (spanning nearly half a century), her brilliant, ongoing exhibition of the dark side of the "eternal feminine", none is quite as disturbing, as that of the icily vapid Julie, the heartless, mindless, psychotic and inevitably homocidal/suicidal 'substitute' mail order bride.

In the Mermaid, which followed Belle de Jour and Repulsion in forming the foundation of Deneuve's introduction to an international audience (she'd been making films in France since the tender age of 13), Deneuve's character approaches the sub-human, becomming a sort of cosmic "black-hole" into which her victims (male) are helplessly drawn in a haze romantic self-asserting ignorance, an archeology of a long-lost maenidic fury, or prehensile feminist epistemology, which, under the mature Truffaut's direction and Deneuve's characteristic restraint is played out in grave measures, a ponderous, agonizing, inexorable procession through a slough of despair to dissolution. If Mlle Deneuve et al. have succeeded in creating a character "rotton to her xx chromosone core", they have imparted something crucial about our humanity or lack thereof. For this reason, I rate the Mermaid not as merely good, but great, albeit uncomfortably great, which is perhaps why, it has always been consigned by critics to that dubious category of "flawed masterpieces". But it's worth the price, if for nothing more than to see Deneuve as a flaming redhead.

This film involves the story of a man seeking his "perfect mate" by means of an ad she has placed in a newspaper. He lives on a lonely island in the Indian Ocean (Reunion, once a French colony) and the woman, played by Catherine Deneuve, is from Paris, supposedly. At first the two exchange a series of letters, so as to "get to know one another," and eventually the woman agrees to travel to Reunion to meet the man. He happens to be a wealthy tobacco farmer, and the owner of a cigarette factory, which makes him moderately wealthy. Upon meeting each other in person they appear somewhat uncomfortable with the circumstances, as if niether quite expected what they find. The woman seems to remember little from her correspondance. When sharing his experiences with business partners the man gets less-than-lukewarm responses from his close associates. Despite these peculiar circumstances and an absolute abscence of anything near intimacy the plans for a wedding go forward. Shortly afterward the woman's behavior becomes gradually more bizarre, until finally she disappears altogether, having taken the man's fortune with her. The man's pusuit for this woman, now his wife, follows. We learn he is pursuing more than just a thief; he pursues her as love-object as well, ending up in shady dance halls along the French Riviera, where she is working. Eventually the truth bocomes known, a kind of love between the two develops, and Catherine Deneuve's character as a victim just as much as a victimizer becomes known. All in all I do not think it is one of her best performances. Where the film succeeds at all is in it's underlying message for persons seeking fulfilling relationships by means of classified "personals." In this respect I think Truffaut was ahead of his time.