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The Bride Wore Black (1968)

La mariée était en noir (original title)
Unrated | | Crime, Drama, Mystery | 25 June 1968 (USA)
1:50 | Trailer
Julie Kohler is prevented from suicide by her mother. She leaves the town. She will track down, charm and kill five men who do not know her. What is her goal? What is her purpose?


François Truffaut


Cornell Woolrich (from the novel by), François Truffaut (adaptation) | 1 more credit »
Nominated for 1 Golden Globe. Another 1 win & 3 nominations. See more awards »



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Cast overview, first billed only:
Jeanne Moreau ... Julie Kohler
Michel Bouquet ... Coral
Jean-Claude Brialy ... Corey
Charles Denner ... Fergus
Claude Rich ... Bliss
Michael Lonsdale ... Rene Morane (as Michel Lonsdale)
Daniel Boulanger Daniel Boulanger ... Delvaux
Alexandra Stewart ... Mlle Becker
Sylvine Delannoy Sylvine Delannoy ... Mme Morane
Luce Fabiole Luce Fabiole ... Julie's mother
Michèle Montfort Michèle Montfort ... Fergus's model
Jacqueline Rouillard Jacqueline Rouillard
Paul Pavel Paul Pavel ... Mechanic
Gilles Quéant Gilles Quéant ... Examining judge (as Gilles Queant)
Serge Rousseau Serge Rousseau ... David


After trying to commit suicide, the widow Julie Kohler (Jeanne Moreau) pretends to her mother that she will leave her town. Actually she stays, chases and assassinates the five men that accidentally killed her beloved husband in the stairs of the church immediately after their wedding ceremony. Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Add Synopsis


She was a bride when the violence happened... Now she's a widow and it's going to happen again


Crime | Drama | Mystery


Unrated | See all certifications »

Parents Guide:

View content advisory »



France | Italy



Release Date:

25 June 1968 (USA) See more »

Also Known As:

The Bride Wore Black See more »

Filming Locations:

Alpes-Maritimes, France See more »


Box Office


$747,000 (estimated)

Opening Weekend USA:

$11,206, 25 April 1999

Gross USA:


Cumulative Worldwide Gross:

See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs


Sound Mix:



Color (Eastmancolor)

Aspect Ratio:

1.66 : 1
See full technical specs »

Did You Know?


This film is François Truffaut's homage to Alfred Hitchcock, made shortly after Truffaut had published a book of extensive interviews with Hitchcock. As part of his homage, Truffaut chose a novel written by Cornell Woolrich, on who's story Hitchcock's Rear Window (1954) was based, and even chose long-time Hitchcock collaborator Bernard Herrmann to compose the score. See more »


When Carol shows his ticket at the theater, he is told that the performance had started three minutes ago, and is immediately shown to his box. When he gets inside the theater, the performers are in the middle of the second movement of the piece (Beethoven's Cello Sonata #3), implying that they had been playing for at least 10 minutes. See more »


Julie Kohler: Je suis Julie Kohler!
See more »


Referenced in Alex in Wonderland (1970) See more »


Cello Sonata No. 3 in A major, Op. 69 - Scherzo. Allegro molto (in A minor)
Written by Ludwig van Beethoven
See more »

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User Reviews

Truffaut's gleeful homage to the cinema of Hitchcock and a subtle mockery of our own expectations of genre
29 April 2008 | by ThreeSadTigersSee all my reviews

The Bride Wore Black (1968) is noted as being director François Truffaut's gleeful homage/pastiche of the cinema of Alfred Hitchcock, with the usual characteristics of deception and retribution, cool cinematography and a lush score by none other than Bernard Hermann all being co-opted alongside some nicely subtle allusions to the broader aspects of the thriller and mystery genres. Whereas it would have been fairly easy for the filmmaker to produce a work that was a shot-for-shot recreation of something that Hitchcock might have done - like for example with De Palma or Van Sant - Truffaut takes the familiar style and iconography of Hitchcock's work - in particular from films like Strangers on a Train (1951), To Catch a Thief (1955) and most prominently Marnie (1964) - and fashions a film that is, on the one hand, an affectionate ode to the filmmaker and, on the other hand, a cruel lampoon. In doing so, the director is able to produce a film that is not only interesting in terms of story and character, but often very funny too.

I was genuinely quite surprised by the use of humour here. I expected from the plot-outline that the film would be incredibly dour and austere but that really isn't the case; with the mixture of lurid, almost B-movie style subject matter, revenge and farce managing to come together fairly well for the most part, as Truffaut tinkers with the expected codes and conventions of the thriller genre in much the same way that Antonioni did with the much superior masterpiece Blowup (1966). Like Blowup, the film can be seen as something of an "anti-thriller", or a film that sets up a number of potentially electrifying Hitchcockian like set pieces and then continually thwarts them - or indeed, forgets about them completely - as the mechanics of the plot push us further and further away from the more recognisable aspects of the story at hand. Whenever we imagine that a scene will play out to our usual expectations, with Hermann's orchestrations and the inventive camera work of Godard's regular cinematographer Raoul Coutard setting the scene, something else happens that throws the film completely off course. For example, in one particular scene, in which our central character stalks one of her victims through the junkyard where he works, we get Truffaut setting up a series of shots that continually teases us with the slow-build of the sequence, the cut-away to the gun and the impending moment before the expected gunshot and then - unexpectedly - the police arrive and arrest the man before any retribution can be taken.

This idea of setting up something potentially very thrilling and exciting, only to then subvert it by way of knowing farce and arch genre references is used throughout The Bride Wore Black, creating an odd juxtaposition between light comedy and cold-blooded murder that probably won't be to all tastes. Apparently the critics of the time hated it, and indeed, Truffaut himself would denounce the film as one of his worst just a few years later, perhaps as a reaction to the knowing tone and the flippant games being played with the more recognisable cinematic conventions. Obviously, Truffaut was a huge fan of Hitchcock, and indeed, one of the first critics to really look at his films within a serious historical context, but all the same, the satirical sideswipes at Hitchcock's work and the evidence of homage is often quite cutting and not always as complimentary as we might expect. The final shot for example, which is indeed very clever and filled with ideas of visual wit, is at the same time blunt to the point of almost going out of its way to lampoon the ending of some of Hitchcock's earlier films like Saboteur (1942). Then we have the ultimate revelation of the event that drove the character to seek revenge and the almost broadly comical rendering of the scene and the complete disregard for any kind of logic and reason.

Was the reason that Truffaut denounced the film simply because he felt it was uncomplimentary, almost mocking of Hitchcock's work, or did he simply feel that the games within the narrative and the combination of murder and farce were simply unsuccessful on this particular project? Regardless, the film succeeds on an entirely perverse level, as we watch Jeanne Moreau step into the role of the iconic "Hitchcock blonde" and plot bloody revenge on those that have wronged her. Some have drawn comparisons with Tarantino's epic Kill Bill (2003-2004), which are apt given the basic outline of the plot and certain elements of the iconography, though Tarantino claims to be unfamiliar with the film in question. Although the broader ramifications of the narrative remain vague and enigmatic even through to the end, the fun of The Bride Wore Black is not in its characters or storytelling capabilities, but in the gleeful subversion of the iconography of the Hollywood thriller by way of the Nouvelle Vague and of course, those constant allusions to Hitchcock and his work.

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