Limerculer A waste of 90 minutes of my life

Megamind To all those who have watched it: I hope you enjoyed it as much as I do.

Catangro After playing with our expectations, this turns out to be a very different sort of film.

Mandeep Tyson The acting in this movie is really good.

tsimshotsui Truffaut doing Hitchcock is pure delight. I would even say I prefer it to some Hitchcock films because Truffaut has better views on certain issues and it showed here. The film is absolutely satisfying and quite creative with the varying... methods, shall we say, by the protagonist. It's incredible how rare a film involving this story line could end this great, and I love Truffaut for indulging the audience and giving us what we want (though I can only speak for me of course).

Coventry I'm a big fan of French cult cinema, I'm a huge admirer of director François Truffaut and I'm truly keen of actress Jeanne Moreau … And yet, the absolute number one reason why I desperately wanted to see "The Bride Wore Black" is because it formed one of the main influences for Quentin Tarantino's ultimate masterpiece "Kill Bill". The epic features ideas and elements from all kind of cult treasures, but a selected few titles were genuine role models for QT, like "Lady Snowblood" and this "The Bride Wore Black". The plot of this late 60's original is simple but efficient, and although containing quite a number of holes and improbabilities, it's still massively compelling after more than forty years. We follow the bride – Julie – on her journey to kill four seemingly random males. Men that initially comes across as innocent and harmless, and even amiable or pitiful, but they all share a dark secret that irredeemably ruined Julie's life and that's why they must be killed without exception. "The Bride Worde Black" is primarily an exercise in style and Truffaut's own personal homage to the work of other cinematic masters, particularly Alfred Hitchcock. The director plays and experiments with camera angles like he witnessed in the repertoire of Hitch, still the occasionally very dark and unsettling atmosphere is entirely Truffaut's very own accomplishment. The film definitely stands on its own as a solid and worthy cult classic. It also owes a great deal of its unique impact to the dazzling performance of Jeanne Moreau as the titular bride, as seldom I've seen such an embittered and vengeance-personified character on screen. Now here's a lady who will truly stop at nothing to extract her revenge! Unfortunately, as indicated before, there are a few too many plot holes for the film to be even remotely plausible. Without going into detail too much, it's never properly clarified how Julie manages to trace down her targeted victims and it's definitely curious how she manages to remain at large for so long. Under more realistic circumstances, she wouldn't even be able to escape from the scene of her first crime without being apprehended. But you gladly forgive the flaws and shortcomings, as "The Bride Wore Black" is – and will always remain – an inventive and suspenseful 60's thriller. Loved the soundtrack, too!

Richard Burin In 1968, Jeanne Moreau will... KILL FERGUS. Possibly. Truffaut's Hitchcock homage, which in turn led to Kill Bill, pays tribute more in style than in theme, as Moreau's widowed bride tracks down the five men responsible for her husband's death (I say "responsible", four of them get a pretty bum rap), amidst numerous clever directorial touches (like the camera snaking around the bushes in front a potential victim's house) and to the strains of Bernard Herrmann's superb score. It isn't deep, particularly credible or very well plotted, it's shot in the peculiar "pastel shade" fashion of so many European films of the '60s - that extends even to the actors' skin; it's difficult to distinguish between the many drawings of Moreau and the real thing - and there's a very silly death scene effect that is almost certainly not a joke, but for the most part it's fast-moving and fun, particularly if you like seeing lecherous Frenchmen being killed.

herbqedi I watched this just last night on TCM for the first time. I was sucked all the way in by the film's first ten minutes. Jeanne Moreau is nothing short of brilliant as the wan seductress who lures her victims to her death. There also seems to be a subtext of her wanting to see how pathetic these guys are in the way they treat and regard women. It is as if it is somehow fulfilling to her sense of justice that their lives should be taken not only because of their roles in her groom's shooting and cover-up, but because they are scum compared to the perfect gentleman and best friend that was her bereaved. It is fascinating watching her elicit the desired lust and reactions from her victims as she goes about coldly executing their demises. The music is brilliant and so is the pacing - at least until the third murder when the politician is killed. This is when the politician recounts - at least for us as the audience - what really happened. In some more of the duality that fascinates French directors, the politician describes the death as an accident - which he obviously believes it was. But, we see, the bald, rough-hewn, and obnoxious man not seeming as benign as his colleagues who used these get-togethers for male-bonding and escapism. Despite the narration, it appears that he took dead aim at the groom. Everything about him seems different than the other four unwitting co-conspirators. At least that's the way I saw it - quite different from almost all the other IMDb reviewers.This is why I found the wrap-up of this movie so utterly frustrating. If - as it appears to me - he was the EVIL one among the otherwise feckless crew, then I feel especially robbed of being deprived of her confrontation with him. It is as if Truffaut's joke on us is that in a movie about a woman seeking her own type of "perfect justice", there is no justice when it comes to the execution of the truly guilty one.What was Truffaut truly trying to say? I doubt that we'll ever know. Robert Osborne on TCM said that one of the reasons Truffaut disowned the film is that he had incredible creative differences with his cinematographer - the same fellow he had worked harmoniously with in the past. So much so, that in the last scenes shot for the film (unknown if they were the last scenes of the movie, or as is more typical, earlier scenes), he had Jeanne Moreau direct the scenes so he could walk out and not have to face the vulgarian.For me, this discontinuity had a definite deleterious effect on the finished (or unfinished) product. Is the spartan ending where we only hear the killer's demise in a way that appears rather sloppily engineered compared to her brilliant set-ups of all the others a brilliant philosophical statement by Truffaut or the self-indulgent wrap-up of an artist acting like a spoiled brat because he couldn't get the cooperation he felt he needed? To me, it feels a lot more like the latter and left me cold and disappointed. To each his own.