From Creature from the Black Lagoon to The Shape of Water — the intersection of genre film and romance is often squared underwater. Mathias Malzieu’s A Mermaid in Paris is the latest example, and one that is effortlessly charming and full of whimsy.
A Mermaid in Paris follows Gaspard (Nicolas Duvauchelle), who roller skates through the streets of Paris whenever he’s not writing and performing songs for his family-run cabaret. In search of artistic inspiration, Gaspard becomes entranced by the voice of a wounded mermaid (Marilyn Lima) just outside the venue and tries to help her.
Heavy rains in Paris have led to rampant flooding of the Seine river, along with an increase of suspicious disappearances of men. Gaspard takes the mermaid home and sets her up in a bathtub overwhelmingly adorned with rubber ducks, but she quickly realizes that her siren’s song has no effect on him. Gaspard is the first to be immune to her song — which has broken the hearts of scores of men — as his heart has already been broken so many times before. So, she introduces herself as Lula and, naturally, they put their talents together and make music.
Gaspard and Lula’s budding relationship is heartwarming, and thankfully, Lula is not solely limited to the confines of the tub. With a clever use of a wheelchair and long dresses that hide her tail, the two are able to hit the town and experience life — all while discovering a love that is completely new to both of them. A Mermaid in Paris burns the embers of an unlikely romance: where one has never been able to love without destroying them, and another has kept their heart locked up for far too long.
A Mermaid in Paris takes a lot of visual cues from Malzieu’s César-winning animated film Jack and the Cuckoo-Clock Heart, featuring bursts of colorful animations that help establish the film’s lore and bookend the narrative. But there are moments of visual ingenuity in his debut live-action feature that often feel too little too late. In one instance, Lula cries gorgeous pearl tears that flow down in a beautiful and surreal use of stop-motion — a technique that is never utilized again. And the brief moments where Lula swims are breathtaking and are easily one of the strongest elements of the film, but A Mermaid in Paris film unfortunately spends most of its time on land.
The film also pulls away from its central component to focus on other subplots with varying levels of success. A doctor and her husband, for instance, are infatuated with Lula and want to capture her so that she won’t harm anyone else. This effectively raises the stakes of their love, but it often feels more like a distraction than the heart of the narrative. Conversely, Gaspard’s nosy neighbor Georgette (Rossy de Palma) is a breath of fresh air and brings a sense of humor to the couple.
If you’re in need of a delightful French romance with a sublime use of production design: A Mermaid in Paris is the film for you. Despite any narrative misgivings, the film’s foundation lies in a strong visual identity and an unbeatable chemistry. With A Mermaid in Paris, Mathias Malzieu has managed to instill a sense of wonder and musicality in a way that’s endearing enough to tug on any curmudgeon’s heartstrings.
