Mississippi Mermaid Screen 2 articles

Mississippi Mermaid


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  • Stately and languorous in its dreamy melancholy, though never entirely convincing, this 1969 picture is full of movie references — even the cabin at the end of Truffaut’s own Shoot the Piano Player figures centrally. But perhaps its ultimate justification is that of Truffaut’s other morbid films, such as The Bride Wore Black and The Green Room: a doomed romantic protagonist (in this case Belmondo) who goes the limit.

  • Under starchy bourgeois formalities, Truffaut finds a rampant daily eroticism of leers and glimpses, probings and pawings that are all the more enticing for their air of dirtiness. His tautly controlled widescreen images lend an unnatural chill to the garish tropical light of Réunion; their complex and delicate pirouettes throb with the thrill of sex and violence.

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