Rating: 
Summary: Shamelessly Entertaining Neo-Noir Masterpiece
Review: "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.") 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.
Rating:
Summary: Shamelessly Entertaining Neo-Noir Masterpiece
Review: "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.") 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.
Rating:
Summary: Truffaut and Woolrich--quelle combination!
Review: 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.
Rating:
Summary: Truffaut and Woolrich--quelle combination!
Review: 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.
Rating:
Summary: look no further . . .
Review: 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.
Rating: 
Summary: Two Stars For The Score Only
Review: Bernard Hermman's score is magnificent. This was a major let down for me considering it was directed by Truffaut. Lacked any real suspense and edge. Boring camera work for the most part. Some nice editing touches here and there but overall pretty lackluster. The acting was fine...I guess. It was just a pointless story I felt that really didn't go anywhere. And what was with that crummy ending?
Rating:
Summary: Two Stars For The Score Only
Review: Bernard Hermman's score is magnificent. This was a major let down for me considering it was directed by Truffaut. Lacked any real suspense and edge. Boring camera work for the most part. Some nice editing touches here and there but overall pretty lackluster. The acting was fine...I guess. It was just a pointless story I felt that really didn't go anywhere. And what was with that crummy ending?
Rating:
Summary: To Hitch, with love and horror...
Review: 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.
Rating: 
Summary: a big let down
Review: I was exteremely disappointed with Trauffaut. The movie lacked any simple sensibility there should be in a movie. What is being called suspenseful by most reviewers is strange as there is nothing suspenseful about the kind of killings she was doing etc. The director rarely shows the trauma of what led her to be so keen on revenge etc. I think the movie was quite silly and very hard to believe.
Rating:
Summary: A tribute to Hitchcock, Louise Brooks and women's legs!
Review: 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!
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