source: I've Heard the Mermaids Singing

I believe that I've Heard the Mermaids Singing should have done far better in the box office. It is a clever movie that tells an original story about a unique character who takes quirkiness to a new, and quite charming, level. The film utilizes the main character, Polly's, odd dreams to foreshadow and explain events throughout its 81 minuet running. Although some may find it to be too complicated, or think that it makes no sense, a closer look reveals many creative and clever elements that can help one better understand the film and its characters. Some such elements are Polly's first dream, which in about a minuet manages to foreshadow the entire film, and the film's final scene, which demonstrates that Gabrielle has come to realize that aging does not take away from beauty, thanks to Polly. The film also shows its aptitude for symbolism in the names of certain locations, namely the Church Gallery. The art gallery's name represents Polly's "worship," as one could call it, of Gabrielle and the world of art. Despite all of this, I've Heard the Mermaids Signing only grossed $1,408,491 in the box office, far less than the 597th most grossing movie of all time, Collateral, which made $100,003,492. I believe that a movie with such a creative plot, and with characters that are extremely relatable and lovable, deserves to be much higher on the list. A list, I feel I should point out, that it didn't even make. Saying that this film is under-appreciated is a massive understatement.

This is one of my favorite movies of all time! Probably number two on my mental list. The cast is superb. I can't imagine anyone else filling the parts more perfectly. The imagery and the very way the movie is presented is a work of art. It's like art imitating life imitating art. There is also musical treats, for one, Delibes "The Flower Duet" from his opera "Lakme,"! From my Taoist perspective, this movie reflects the wisdom of letting life happen instead of trying to aggressively make it happen. When Polly tried to be something she was not meant to be, the results were disastrous. When she finally realized her inner nature was not a weakness, but her strength, she triumphed! Mary Joseph was the catalyst that made Polly finally begin to realize she was not some freak by defending the photo on the floor, and clarifying her own relationship with Gabrielle. It was especially interesting when Polly and Gabrielle were chatting about relationships and society during one of Polly's dreams. The Freudian quote reflects a wisdom that has been lost in time, but still very valid and true. This movie also mirrors the disconnect and love/hate relationships between artists and art critics. I wouldn't recommend this movie to anyone under 30 unless you are the "old soul" type or somewhat intellectual. Otherwise, you won't get it, and there's no special effects, graphic violence or steamy sex. The insight and wisdom required to understand a movie such as this comes mostly with age. I have also known people that have acquired such insight via LSD, as I probably did, but I DO NOT RECOMMEND that route! The reasons why are because it's 40 years too late, Timothy Leary is dead, and without such a guide as he, the side effects from an illegally or poorly manufactured drug would be dangerous and deadly!

Good things often come in surprisingly small packages, and this Canadian export is a very small thing indeed: a low budget sleeper describing the private world of Polly Vandersma, the 'organizationally impaired' Person Friday and part-time assistant for the curator of a high-brow Toronto art gallery. Painfully shy, prone to daydreams and distraction, socially inept and insecure, Polly is a simple person attracted to what she calls 'art things': obscure painting, modern architecture, the oblique language of intellectuals. It's a world she's not well equipped for (to say the least), and after developing an innocent crush on her curator boss she learns the hard way exactly how cold the world of 'art things' can be. Her story is both poignant and funny, built around the framing device of Polly's odd, confessional video diary, in which she recounts the one, glorious moment in her otherwise negligible life when she broke free of her shell. But the real secret behind the fragile charm of the movie is Sheila McCarthy's disarming star performance, capturing all of Polly's clumsy optimism and curiosity. Originally shown with 'Paradiso', a long (long) animated wet dream from the Age of Aquarius.

Quirky little film about a seemingly aimless temp worker that starts working at an art gallery. Polly, the main character, is delineated in detail: lovable but mildly exasperating in her cluelessness and lack of social skills (you are constantly concerned that she's gonna embarrass herself and, quite often, she does) although she's a bit of a stereotype (the innocent, pure, slightly clueless person with a golden heart and the best intentions that gets herself and others into trouble). She's lonely too, and this detail is wonderfully depicted in a scene which shows her preparing some food and eating by herself, with only her cat as company. Her hobby is photography and she hopes that her boss will like her photographs, with heart-breaking results when Gabrielle tells her, without knowing that they're Polly's, that her photos are "trite made flesh." The pain she feels will speak volumes to anyone who fancied him/herself an artist only to face the scorn or disinterest of others. However, the truthfulness of this moment is slightly marred by the ending in which Gabrielle seems to realize that her photos are indeed good; this seems like too much of a tacked-on happy ending. Gabrielle's character is not so well delineated, although it's quite poignant to see a person who is fascinated by and knows a lot about art and yet knows that she has no talent herself.

An intelligent and unusual "art house"-type movie about a modest and eccentric dreamer (McCarthy). This low-key comedy melodrama isn't pretentious, though; quite to the contrary - it makes fun of pretentious bull***t-talk that takes place in the pop-art scene. The comments two of these "art experts" make while evaluating a series of paintings is very funny and effective; stuff like "his boyish bravado has a certain charm", "he is somewhat incapacitated by his emotions", "New York is wild for his oblique pragmatism", "the static structure is offset by his whimsical sociological references", "there is a hopefulness in his contextural destruction", or "the lack of resolution of his themes almost adds to a vaguely literal internal transformation of the subject" (my favourite). And while the two are spouting off this verbal malarkey, McCarthy eavesdrops on their conversation and naively nods. McCarthy is perfectly cast, totally convincing, and easily the best in an obscure cast. Two plot twists at the end. An interesting soundtrack. If you're interested in reading my extensive satire of modern art, "Picasso", contact me by e-mail.

I usually don't watch movies more than once. But this lovely film is one that I have regular cravings for. It is so smart, unpretentious, and unassuming. It's subtle and multi-layered and such a treat to view. It's a quiet film too, with refreshing insights and ideas about relationships. The contemplative pace of the film gives you time to enjoy the ideas and feelings that come up in the characters and in yourself. On more than one occasion while watching the film my breath was taken away with surprise and delight. I guess another draw for me is the female characters: how refreshing to meet women who are multidimensional, portrayed with authority and authenticity (and having interesting faces I could watch forever). And I love how the story is so simple, a late bloomer's coming of age (or rather coming into her creativity)--a 'bildungsroman' in a film about art. Thanks Patricia Rozema et al! What a treasure.

It just didn't move me. This movie clearly has a cult following. I rented it in the DVD re-release format. The acting was forced. The blocking resembled a bad high-school play. And I just wasn't moved by it. I would like to meet the people who remember this movie so fondly when it was first released in 1987 to learn more about why they liked it.

The wonder of this film, like one of the paintings it features, can't be described in words. It is pure magic in the most abstract form! One can't help but adore Polly's originality (Sheila McCarthy). This is a fantastically crafted and acted film. It will trigger your imagination and place a smile on your face. After the film is over, you won't be able to stop dreaming. I can't watch it enough! It is very sad that it is no longer in print (at least last I checked) and I am very lucky to have purchased it in the Laser Disc format when I did. I have been a fan of this film since I was 20 and am still a fan 14 years

One of my top ten favorite films of all time, this is beautifully put together- I can't fault the film in any area, other than its not been released on DVD yet. This is easily the best film to come out of Canada, and Patricia Rozema will have a hard time bettering it. The whole movie plays like an ethereal dream with occasional lapses into consciousness. There are some very funny pieces, and some touching moments too. If you ever rent or buy a film because of a review on here, let it be this one, its totally brilliant, and one of the only films ever to be given a standing ovation by the critics in Cannes when it was first shown. Truly magical.