Mississippi Mermaid

I don't know if I needed a two hour movie to tell me something I already knew. Even if she's trying to kill you, you would stay with Catherine Deneuve.

Not one of Truffaut's best but still pretty damn awesome. Denevue is great and Belmondo is still the definition of badass. The ending is extremely unsatisfying and it looks kind of like the same house from Shoot the Piano Player.

François Truffaut #1

78.500

This was just weird for me.

3 August 12 & Filmin basindan sonuna kadar kadin ile adam arasindaki iliskinin ne kadar gercek oldugundan emin olamiyoruz zira kadina bir turlu guvenemiyoruz. İsin garip tarafi, adam da bizim tum bu gorduklerimizi biliyor ancak hep inatla kadini affedip, tutku ile baglaniyor. Biz, kadina asik olmadigimz icin buna katlanamiyoruz adam ise kadina asik oldugu icin kadinin kendisini yavas yavas, aci cektire cektire oldurmesine bile goz yumuyor. Askin bundan daha guzel bir tanimi olabilir mi?

I kept thinking "this can't be happening" - I mean, Belmondo, Deneuve and Truffaut has to be film magic - but it isn't - so what am i left with here?. A murder-mystery-love-drama that doesn't work and two lead actors in their prime, who seem indifferent towards each other, when their supposed to be madly in love? Bad directing perhaps? Definitely a lot of questions that aren't helping my overall impression of the film..

she wasn't a fucking mermaid at all i wanted to see him fuck between the flipper this is bullshit

What begins as a modest romance evolves into a very engaging thriller. The irrationality of Belmondo and Deneuve's relationship creates a fair amount of tension, and their apprehension translates well to the viewer. You're never quite sure when they're being honest. The romance is hopeless, and Truffaut treats it with a good deal of cynicism, asking if one can ever really know another person.

An effective, unorthodox mystery. Deneuve--as usual--is ravishing.

Women are always 'smarter' than men, in Truffaut's films. I guess it was his way to get laid with them more often, in real life.

Rather pedestrian with only a few interesting flourishes. But the story is offbeat, part thriller, part doomed romance. You could accuse the film of being unrealistic, but it operates on a sort of heightened level of reality. Truffaut emphasizes the irrationality of love and its innate beauty and tragedy. Still, it's not one of his best. As the relationship gets bogged down in the same kind of trials and reversals over and over again, your interest wanes, waiting for some development or insight.