n 1969, director Francois Truffaut brought La Sirene du
Mississippi (literally, Siren of Mississippi) to the screen. The
film was based on Waltz Into Darkness, a novel by Cornell Woolrich,
who wrote the original short story that Alfred Hitchcock turned into
Rear Window. Jean-Paul Belmondo starred as Louis Mahe, a
plantation owner living on an island off the coast of Africa;
Catherine Deneuve starred as Julie Roussel and Marion Vergano, his
deceptive mail order bride.
The film was released as
Mississippi Mermaid in the States to lukewarm critical review
and audience reaction, perhaps due in no small part to the thirteen
minutes that had been edited out. Mississippi Mermaid was re-
released in May of '99 with the deleted footage restored and the film
was transformed. While Mississippi Mermaid was being shown in
its original form, another filmmaker, writer and director Michael
Cristofer, was busy re-imagining Waltz Into Darkness as Original
Sin. The opening shot immediately establishes a sense of
foreboding that runs throughout the film. Julia Russell Vargas
(Angelina Jolie) is behind bars in a dank prison. This is her story
and she provides the narration as she tells a consoling priest how she
came to be condemned. The piece is set about one hundred years ago. A
wealthy Cuban coffee plantation owner named Luis Antonio Vargas
(Antonio Banderas) has sent for a mail order bride from the state of
Delaware; her name is Julia Russell. Vargas may be handsome and rich,
but he does not believe in love. His approach to marriage is very
pragmatic, "She is not meant to be beautiful... just kind, true
and young enough to bear children."
When he meets his
prospective bride on the docks, he's shocked by the vision that
introduces herself to him; he had not recognized her. She explains
that she had sent another woman's photo, a rather plain woman.
"... I didn't want you interested in me just because I owned a
pretty face," she says. He then confesses that he's not the
plantation clerk he professed to be in his letters; he's the owner.
She understands at once, "You did not want me to be interested in
you just because you owned a pretty bank account. Then we have
something in common. We are both not to be trusted." Prophetic
words - their relationship will be punctuated with deceit,
unfaithfulness, and betrayal. 
They marry that day and she moves
into his lavish home. Julia beguiles Luis, but he offers to wait to
come to her bed until she calls for him, whether it is hours or days
or weeks. This man intrigues her, and it isn't long before she gives
herself to him. Their passion is all consuming, and the man who does
not believe in love becomes obsessively devoted. What Julia keeps from
Luis is that she is not what she seems. She is a foundling who ran
away from an orphanage with a boy when she was fourteen, a boy with
whom she would develop an unhealthy codependency, a boy who is now a
man and who will intrude in most unwelcome ways. Her past has wounded
her deeply. Julia's inability to believe that any worthy man could
possibly have genuine feelings for her has caused her to erect
emotional barriers to hide behind and to isolate herself. That she
still is involved in a sadomasochistic relationship with her fellow
orphan soon becomes clear.
There are enough plot twists and
revelations to keep the viewer involved. Jolie and Banderas offer
believable performances of impressive emotional ranges. The supporting
cast and production values are all quite fine. So why did this film
leave me a bit cold? Perhaps it is the premise that Luis was targeted
even though Julia could not have known initially that he was no more
than a workingman. Perhaps it's the depth of Luis's self-destructive
obsession, one that knows no bounds of forgiveness. Perhaps it's the
unlikely ending. Even the heat of one passionate and highly publicized
sex scene did not help. I admired much, but still came away vaguely
dissatisfied.
Video: How Does The Disc Look?
The
film's theatrical aspect ratio of 2.35:1 is presented in anamorphic.
Laser Pacific Media Corp. did the work and considering the source, I'm
surprised that I found as much edge haloing as I did. Small object
detail is adversely affected, yet textures remain intact. Color
fidelity is excellent throughout, with no chroma noise. The film is
relatively grain-free, except for a few scenes that were processed to
provoke audience reaction. In one or two of those scenes, grain is
exaggerated by digital texturing. Black level, and brightness and
contrast are all great. Shadow detail is also very good. I noticed no
compression artifacts. 
Audio: How Does the Disc
Sound?
The Dolby Digital 5.1 track is quite nice. Deep bass
is not present; none is called for in the film. Sound effects, such as
the thundering hoofs of Luis's horse are reproduced convincingly.
Surround effects are subtle but effective. When we join Luis as he
follows Julia backstage, we are immersed in the sounds of the players
and musicians preparing for act 2 of Faust. (EX decoding of this non-
EX mix will neither help nor hinder the presentation.) Terence
Blanchard's orchestral score is presented with fine fidelity across a
reasonable soundstage. The dialog remains crystal clear throughout the
film.
Three additional Dolby Digital 5.1 tracks are available
in French, Spanish, and Portuguese. The audio is supported by
subtitles in English, French, Spanish, and Portuguese. There are also
English Closed Captions. 
Supplements: What Goodies Are
There?
Writer and director Michael Cristofer contributes a
feature-length commentary that is only vaguely related to the
action onscreen, but that he does not address the action is the
strength of his monolog. We learn about casting, locations, set
design, lighting and camera techniques, and anecdotes and descriptions
of interrelationships on the set. His is my favorite flavor of
commentary, directed at those who wish to know more about the making
of the film. Very well done.
With the exception of one trailer,
all the visual supplements on this DVD are shown in non-anamorphic
video. These include a music video by Gloria Estefan singing
"You Can't Walk Away From Love." There is a Photo Gallery
which is animated with pans and zooms and set to about two and
three-quarter minutes of Terence Blanchard's orchestral score. Two
theatrical trailers are included: an anamorphic trailer for
Original Sin; and, a non-anamorphic widescreen trailer for
Hart's War, currently in theatrical release. There are sixteen
chapter stops.
DVD-ROM Exclusives: What do you get when you
pop the disc in your PC?
No ROM extras have been included.
Parting Thoughts
MGM was not pleased with the
delivered film. Originally scheduled to be released in November of
2000, the film didn't reach theaters until August of the following
year. The film earned back only $17 million of its $26 million budget
at the box-office. For this unrated DVD edition, MGM has permitted the
filmmakers to restore about two and a half minutes of MPAA censored
material, perhaps to spur consumer interest (the theatrical version is
also available on a separate DVD). Fans of Basic Instinct
should not expect similar content. This is essentially a modern work
of film noir, one that I feel I can mildly recommend without knowing
precisely why.