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The Bride Wore Black [VHS]

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"The Bride Wore Black" is another neo-noir classic from Francois Truffaut. It's adapted from the pulp novel masterpiece by Cornell Woolrich (aka William Irish.) Truffaut retains the story and the sense of doom of the book but pares down Woolrich's convoluted plot so that it is even darker. Jeanne Moreau is scary as the implacable Bride, who tracks down the five men she holds responsible for the death of her husband on their wedding day. (You can see the tremendous influence this film had on Tarantino's Kill Bill, Volume 1). This is an icy examination of the eternal war between men and women; the men are either sexual predators or spinless wimps, and the Bride is remorseless in exterminating them. The film has several setpieces that are obviously tributes to Hitchcock (like the high-rise building; and the wrongfully accused teacher.) There's even a musical score by Hitch's signature composer, Bernard Herrman. Truffaut ratchets up the tension to unbearable levels as we wait to see how the Bride will dispatch her next victim. Truffaut, the great humanist and friend of small children, occasionally peeks out, but mostly this film is a gripping ride on the dark side. It also has one of the gratest final scenes I've encountered in a movie. Just terrific.

Master director Francois Truffaut and legendary actress Jeanne Moreau proves in this film a brunette can be more than a match and just as deadly as the most iciest of Hitchcock blondes, with the great Bernard Hermann delivering a turbulent, impending and breathtakingly haunting score which unfortunately is not out on soundtrack. Truffaut also pays tribute in hairstyle form to Louise Brooks, the 20's actress noted for her distinctive hairdo, which Moreau's character sports. This unforgettably haunting story full of symbolism plays out with the grand sweep and scope of almost Greek tragedy-mythic proportions, starring brunette Moreau as femme fatale extraordinaire Julie Kohler, an emotionally insulated and fascinating woman who descends upon her hapless victims like an exquisite bird of prey in larger-than-life vengeful goddess fashion (which we're not really meant to take all that seriously but is very effective)--she is at once meticulous, deliberate, detached and above all else, mesmerizing with her cold impassive beauty and emotionally/sexually untouchable aura. Her motley prey are a colorful assortment consisting of a wealthy playboy, a romantic loser, a smarmy politician, a mute gangster and a skirt-chasing artist. In highly dramatic and effective use of flashback we learn that Julie turns avenging angel when the love of her life is "assassinated" before her on the steps of a grand cathedral right after their wedding ceremony!--granted it's melodramatic and over-the-top but fits right in with the film's tragic gradeur. Throughout Moreau/Julie is dressed entirely in black and white but wears no other color--appropriate since her character sees the world now only in terms of black and white with no shades of gray, for even when learning these are not "bad" men (except perhaps the gangster) and what occurred was a purely hapless accident, there's no turning back in her unwavering resolve and vow to carry out her revenge.

The most fascinating scenes involve artist Fergus (the always excellent Charles Denner) whom Julie leaves cold at first but who soon becomes enthralled by her aloofness and suppressed sexuality, and in turn she shows signs of emotional and sexual awakening with his frank but pleasant personality and under his almost lovemaking/foreplay-like touch and caressess as he poses her--not surprising since obviously no man has gotten close to or touched her since her husband's death years ago, with the strong impression that she may even be a virgin! As the audience we hope Fergus can save Julie from her personal torment so she will find the happiness she so dearly deserves, but unfortunately the tragic past, her haunted memories and steely resolve win out over this new chance at love, life and happiness. Despite the killings she commits with such calculated and efficient dispatch, Julie is a sympathetic character because she's a principled murderess--she's not willing to hurt anyone but her targets or let anybody take the fall for her actions, as the scene dealing with the politician, his son and the son's schoolteacher compellingly displays her humanity. This is a fascinating character study of a troubled and complex female obviously inspired by Hitchcock's earlier "Marnie," but in this case Truffaut goes one step further with his version of an un-savable Marnie. A comment--throughout this film (as well as some of his others) Truffaut reveals what obviously is his leg fetish, as we the audience are subjected to numerous references as well as many voyeuristic and lingering shots of Moreau's legs!

Before buying this DVD I'd only seen the film twice before, both times on television and the last time some 13 years ago. I was pleased to fimd it had lost none of it's power to entertain.

Although it was well received, particularly by the art house crowd, when it was released it is now a largely ignored film. This is a pitty as it is superbly crafted and despite a somewhat absurd plot conconcerning a widowed bride avenging the assassination of her husband it does draw the viewer into it and you cannot help but wonder how it will all be resolved.

The Bride Wore Black was Francois Truffaut's second colour film and like his first, Fahrenhight 451(1966), he makes strong use of primery colours namly red, blue, white and black. In particular his decision to dress Julie Kohler(Jeanne Moreau) only in black and white is extreamely effective and each of her five victims is treated to a different creation in black or white and sometimes both; each designed to lure it's respective man to his fate. Jeanne Moreau gives an amazing performance in the title role for however alluring she appears to her victims(they all fall in love with her) her eyes are always filled with cold hatred for them.

This film is, above all, a tribute to the master of suspence himself Alfred Hitchcock; Bernard Herrmann's music and the slightly cold lighting together with the restrained style of acting combine to make a French version of an unmistakeable cocktail as deadly as the poisoned Arrack Julie gives to Bliss, her second victim. But The Bride Wore Black is a lot better than the films that Hitchcock was comming out with at around the time this was made namely "Torn Curtain"(1967) and "Topaz"(1969).

Although the DVD does not appear to have been digitally restored the original print from which it has been made is good and if you don't want to be distracted by subtitles you have the option to view the film with a dubbed English language soundtrack, although the American accents sound a bit strange eminating from all thoes French actors.

Although to modern audiences this may apear a bit camp this is a "must have" for any lover of French New Wave Cinema.

Based on the novel of the same name, this film is a razor sharp depiction of one woman's relentless pursuit of her newly wedded and deaded husband's killers. Cornell Woolrich was THE quintessential noir fiction writer, the master of savage irony, and this is, without question, one of the best translations of his work into film.

Jeanne Moreau brings out the fanatic dedication of the main character--as schoolteacher, vixen, artist's model--whatever it takes, she will find and destroy the killers. Even in prison, she manages to kill. Her impassive demeanor is a perfect representation of the Woolrich ethos--that life in its unpredictability will change you so dramatically that there is no chance in hell you will ever be the same as you were before.

The killers are all regular guys who never suspect a thing--because they're not professional criminals, they have no reason to be looking over their shoulders. The various methods the Moreau character uses to dispatch the men are clever and intriguing.

Truffaut's sharp eye for character detail is an exact match with Woolrich's mordant eye for plotting. The two together make for a tough, engaging film that still rings true after more than 30 years.

When THE BRIDE WORE BLACK first came out to theaters Hitchcock went out to see it for himself. He had been good friends with Truffaut already for a while and Truffaut had been an admirer of his for a long time. After Hitch saw it he told Truffaut what he thought. His only thought was that in one of the murder scenes a pillow should have been put under the head of one of the men who was dying. But other than that he gave his seal of approval and so do i. This is one of the best homages to Hitchcock that i have ever seen. The story is adapted from a novel by William Irish and it is about a woman named Julie Kohler (Jeanne Moreau- Jules and Jim, Viva Maria!) who's husband is shot and killed on her wedding day. After living for a long time in deep depression she decides to track down the five men who killed her husband (accidentally) and kill them one by one. She uses her charms to get to them and soon after she kills them. The movie is not unbearably suspenseful but it is potent enough so that you wonder what will happen next. The reason for it not being so suspenseful is that you can guess more or less what will happen but what does keep it suspenseful and interesting is that we don't know how these situations will turn out. Truffaut's direction keeps the movie flowing along at a constant pace and he uses wardrobe to convey how Julie is feeling by having her wear black very often and if she does wear any other color it is only white. Jeanne Moreau gives a subtle and sympathetic performance in a role in which she could have gone over the top but wisely chose not to. We sympathize with her even as she is commiting these horrible crimes because Truffaut has us understand her pain but never fully. The psychological aspect which could have been exlpored more in this movie is never fully explored but it's not unforgiveable since the movie is not really about that. It's more about Julie's experience of trying to get her revenge. The script is solid as well and the movie is accompanied by a beautiful score by Bernard Herrmann who was Hitchcock's frequent collaborator and the score is reminiscent of Hitchcock's VERTIGO and MARNIE. This is very definatley one of the best homages to Hitchcock and also one of the best in Truffaut's legacy of films.

Truffault brilliantly brought to the screen Cornell Woolrich's outstandingly paranoiac thriller, The Bride Wore Black. And who but Moreau could have played the role of the relentless avenger who finds so many inventive modes to destroy those who killed her husband. On the church steps! I like Truffault's ending better than the novel's contrived ironic one. The novel, though fine, lacks the melancholic and weirdly comic quality of the film. It is a film that puts one in the uncomfortable position of rooting for its murderous heroine though one of her muders is especially distressing to both her and us because the victim is endearing. But see for yourself.

Truffaut said The Bride Wore Black was his homage to Hitchcock. A great homage it is, with that Bernard Herrmann score, murderous psychological ambiguity, bad things happening on warm, sunlit days and a complex -- and looney -- main character. Think of it as a black comedy with enough riffs on Vertigo to smile at. Just as importantly, while the film may be Truffaut's homage to Hitchcock, the film remains completely Truffaut's. It's one of his best, and features a wonderful performance by Jeanne Moreau as a woman whose husband is shot and killed as they're standing on the church steps just after they've been married. After recovering from the shock, depression and a suicide attempt, Julie Kohler decides to do something about the five men responsible. If you are unfortunate enough to hear the whispered words, "Je suis Julie Kohler," they will be the last words you'll ever hear.

Julie methodically checks off the names on her list as she finds ways to see that her version of justice is done. She may be obsessed, but she knows exactly what she's doing...and she is implacable. Jeanne Moreau, with those plump, downward-turning lips and puffy smoker's eyes, has never been better. Moreau is an extraordinary actress. She had features that at times could seem almost coarse, but then almost beautiful and certainly desirable. She had a strange fusion of intelligence which challenged and a vastly intriguing nature. I could easily picture her watching Casanova with those reserved, quiet eyes while he struggled to mumble self-consciously, "I love you." Moreau can do more with a stare, a look, a glance than just about any actress I know.

As much as the movie is a joy to watch, the last five minutes has a conclusion that is unexpected and completely satisfying. I think even Hitchcock would have had a smile on his face as he patted Truffaut on the back.

The Bride Wore Black has a fine DVD transfer. It is not anamorphic. There are no extras of any importance. Let's hope it gets reissued not only anamorphic, but with the substantial extras on Truffaut and Moreau the film deserves. For those fans of Truffaut and Hitchcock, you may find of interest Hitchcock (Revised Edition) by Helen G. Scott and Francois Truffaut. The book covers the lengthy interviews Truffaut had with Hitchcock as they discussed Hitchcock's work and each of his films.

Francois Truffaut's THE BRIDE WORE BLACK is an excellent gift of a film to fans of Hitchcock and even to the master himself. There are many nods to Hitch's films and you know Truffaut had done his homework while making the picture (by writing the definitive book on Hitch's films). What makes BRIDE WORE BLACK more than just mere homage is an elevation of suspense and a less stylized, blatant approach to the material. Truffaut does not sell his own cinematic soul and is able to present a terrific suspense story of his own. It was almost like Hitch's work turned inside out. Jeanne Moreau plays a miserable middle-aged woman, both suicidal and murderous, looking to avenge the death of her life-long companion and husband.

We see the murder of the husband repeatedly throughout the picture, studied from different angles and vantage points. He is assassinated on the steps of the church, while the thunderous 'wedding suite' plays rather ominously. We find out why she picks her victims the way she does and how they all relate to the slaying. This is one ticked off woman. Some of the murders echoed Hitch, one inspired by FOREIGN CORRESPONDENT, another from NOTORIOUS. The scenes and "borrowing" that occur here are not as blatant as you may think, however. They are mostly inspirations and Truffaut puts his own spin on them, meshing them together or taking them apart and reassembling the elements. If you are a Hitch connoisseur, it is fun to interpret what Truffaut is doing with the master's vast material.

I was also struck by a feeling of NORTH BY NORTHWEST, but with a woman as the main protagonist and the journey turned inside out. Of course, we get the character who has seen this person before and either leads to her capture or is on to her, a staple in Hitch flix. The ultimate homage is Bernard Herrmann's score (he was Hitch's right hand man for years). The 'wedding suite' is louder than usual, resonating evil, and the music as a whole is Herrmann's typical gothic work, brilliant and memorable. Truffaut extends Hitchcock by showing us in more graphic detail some of the killings and the relentless mission this woman is on is not stylized the least bit.

Check out the poisoning scene and tell me you don't see Ingrid Bergman looking at Claude Raines circling and bellowing in expressionistic ways. Trains are littered throughout the film, one on the lampshade of a young boy, another with Moreau riding on it. This is all great, but it transcends some of Hitch's work in many ways. The blood-curdling ending is one of the best I have ever seen in film, period. Considering BRIDE WORE BLACK was released in 1968, the horrific ending may have inspired HITCH of all people when he made FRENZY in 1972. Watch both and see if you know what I mean. This is a must see for foreign film fans as well.

This is one of Truffaut's very best films. Truffaut has been dead for awhile now but for several decades, ending in the 1980s, he was probably the most popular French director for American moviegoers newly discovering French film. One thing that made him so accessible to Americans was that he started out as a movie reviewer and also wrote a definitive book on the work of Alfred Hitchcock. Truffaut understood what we Americans were drawn to at the movies but could also make it a new experience for us by making it French. This movie is an homage to Hitchcock's work yet also distinctly Truffaut's movie. The marvelous Jeanne Moreau plays the lead, a woman hell bent on revenging her husband's murder. She systematically goes after and murders each man who was in any way involved in gunning her husband down on their wedding day. She of course has to get rather close to each man in question to pull this off and she is wonderfully inventive in her methods. Perhaps her best "sendoff" is saved for last though. Be ready for a great night at the movies with this one as it holds up to the very best of Hitchcock's work.

I'm glad I'm not the only person who, while watching `Le Mariee Etait en Noir', thought of `Kill Bill'. I mean, there are obvious comparisons to be made, and it is certainly respectable that Tarantino would be influenced by someone as marvelously influential as Francois Truffaut. Personally, I adore him. `Jules et Jim' is my favorite movie of all time, and a few of Truffaut's other films are not far behind. While I don't think he's quite as great as Jean-Luc Godard (a cinematic obsession of mine), but I am not one of those who thinks you have to pick a side (cough*FriedrichNietzsche*cough).

`La Mariee Etait en Noir' tells the story of a woman scorned. That woman is Julie Kohler, a woman who spent her whole life loving one man only to have him shot and killed on the day of their wedding. She has spent her years since tracking down the men responsible and delivering the same fate they offered her husband.

What is so intriguing about this film is that, when all is said and done, the revelation behind the killing is not what we would have expected; not at all. I think that this clever twist is perfectly used here, for it delivers conflicting emotions to the audience. I don't want to uncover the twist, because for me it was the most profound part of the film, but I will say that it causes you to question your side of the battle so-to-speak.

The Hitchcock influence is all over this film. What I love about it though, is that it understood how to make it fresh and new. This doesn't feel like Hitchcock-lite, or like a deliberate copycat. This isn't mimicry as much as homage. Truffaut still makes this very much is own film, allowing the jovial French cinematic atmosphere to lend its own set of layers to this thriller. You can also thank the beautifully talented Jeanne Moreau for delivering an outstanding performance. She captures the coldness that chips away to reveal true emotional duress, especially when she learns the truth. I also love the way you can see her playing the part. She plays the reserved flirt rather well, using her sensuality to attack, but always keeping that prickly demeanor that almost enticing the audience all the more.

The film, and especially the calculated murders, are not really meant to be taken too seriously. This is a thriller, but it is more about the psychological effect the situation is having on Julie. As with the best of Hitchcock, `Le Mariee Etait en Noir' is most appreciated when one takes the time to dig a little deeper.