黑衣新娘

    在看《黑衣新娘》的过程中，我老是想起《杀死比尔》，两部片子实在有太多相象之处。同样的新娘复仇，同样的逐一杀死仇人，同样的不断插入教堂婚礼的镜头，女主角同样的在死亡笔记本上不断的将仇人的名字划上一横。难道《杀死比尔》从这部特吕弗拍摄于上世纪六十年代的电影中吸收了很多内容，看完此片后查了些资料，果然有不少人从《杀死比尔》上看到了《黑衣新娘》的影子，作为大师级导演，特吕弗的影响力由此可见一斑。    如果从细节看，这部片子中的复仇新娘的杀人手法显然不如《杀死比尔》中的女杀手那么专业，一个被好莱坞大片熏陶甚久的人是很难理解黑衣新娘那么业余的杀人手法为何会屡屡得手。但是，这部片子让我看着还是感觉很好，不同于好莱坞的紧张刺激的快节奏，血腥逼真的杀人场面，这部影片具有法国电影传统上的慢节奏的特点，既使讲述的是一个复仇杀人的故事。故事的开始即以复仇铺开，然后在片子将前因后果一一到来，而且中间屡有波折。首先，以婚礼上新郎遇害揭示一个新婚女子复仇的原因。接着当我在心中认为其“杀人有理”时，影片又一转，原来事实上，新郎遇害不是一次谋杀，而是一次意外，让我又对被复仇新娘杀死的人有些叫屈。但是紧接马上揭示了新娘如烈火般仇恨产生的原因，她与新郎是两小无猜的伴侣，本有那种情定一生的浪漫，她一直等待着成为新娘的一天，所以新婚丈夫的死让她的仿佛失去了这个世界，所以将仇恨宣泄到了五个过失杀人后潜逃的男人身上，这又让我对她产生了一丝同情。这些转折虽然称不上“跌宕起伏”，但是也层层揭示了一出悲剧导出更大悲剧的原因。    整部片子，我一直跟随着这位复仇新娘的视线去目睹仇人逐一倒下，特吕弗在这五次复仇中，都以不同的手法予以表现。第一人之死显得很直接，新娘直接将仇人从楼上推下，两人之间甚至没有过多对话，镜头紧跟死者坠下楼房；第二人之死则是用毒药毒死，新娘也有时间如一切复仇者一样对将死的仇人尽情嘲讽；第三人之死则是被活活憋死在储物间里，新娘甚至有时间听取仇人的解释，同时她仇恨的原因也在这个过程得以揭示，而最后在被关在储物间中男子绝望的敲击门的响声中，对准储物间房门的镜头慢慢拉远，敲击声也渐渐小了下去，直至无声，很好的营造了一种被杀者的在绝望中渐渐死去的气氛。第四人之死，新娘更费了些周折的向身为画家的仇人步步接近，同时在这起事件中被捕。而在这个过程中，举着弓箭作为绘画模特的新娘不时将箭头对准专心绘画的仇人，却一直隐而未发。最后没有刻画具体的杀人场面，但是镜头转向背中一箭的男人尸体时，结合前面的暗示，观众也对其死因自然明了，这一手法，在以后的电影中也被不断采用。第五人之死最富戏剧性，监狱中的新娘担任了向犯人送饭的工作，这使她有机会接近此前被逮捕的最后一个仇人，而他正是直接开枪误杀新娘的人，这最后一幕拍的很妙，新娘向一间间牢房送饭，直至走向仇人所在牢房过道的深处，此时镜头没有跟进，而是一个长长的等待，接着一声凄惨的男人叫声为新娘的复仇之旅划上了句号，影片也在这声惨叫中结束，留下观众对这位复仇新娘命运的猜想。在这五起杀人事件中，特吕弗表现出了很娴熟的技巧，在缓慢的叙事节奏中，成功的营造了紧张的空气，特别是影片结尾手法可谓精妙。    这位复仇新娘在整个复仇过程中表现了惊人的冷静和耐心，她每杀死一个仇人前都会首先耐心的打听调查，一步步松懈仇人的防线，直至发出致命的一击。同时，特吕弗并没有将她描绘成一个被仇恨完全冲昏头脑的病态杀手，她不时表达出对死去的丈夫深深的爱，同时她并没有秧及无辜，当她杀死第三人，一位女教师被冤枉后，她也主动为她洗刷冤屈。善良与仇恨在她身上合一，在杀死仇人时她显得不容分辩，无比冷酷，但是，对爱人她又满怀神情，一个丰满的人物形象就此印在观众脑海中。    如果你有足够耐心，那么闲来看看这部《黑衣新娘》是不错的选择，在一种不同于《杀死比尔》的缓慢节奏中，你可以慢慢体察一段复仇的旅程，玩味特吕弗的电影艺术。起码，看看这部《杀死比尔》的前辈级电影也是一种趣味。http://handsomewang.blogdriver.com/handsomewang/1093414.html

Like MISSISSIPPI MERMAID (1969), Truffaut's THE BRIDE WORE BLACK is another adaptation of Cornell Woolrich's pulp fiction, based on his 1940 eponymous novel. On her wedding day, just outside of the church after the solemnization, the husband of Julie Kohler (Moreau) is shot dead by a stray bullet in front of all the celebrants, which turns an disconsolate Julie into a black widow with a steely vengeance as her last wish on earth. She sets out to snuff five men who are responsible for that accident, one at a time. Cued by the names of Woodrich - one of his novels is also the source for Hitchcock's REAR WINDOW (1954) - and Bernard Herrmann (whose soundtrack runs to orotundity here) and reckoning with the timing - Truffaut published his influential interview book Hitchcock/Truffaut in 1966 - it is safe to acknowledge that THE BRIDE WORE BLACK is Truffaut's foray into exploring the Hitchcockian tropes, a thriller about an icy-cold femme fatale insinuating her way into exacting multiple homicides after a very personal loss, even on paper, the tension and mystique are palpable. However, where thrills and chills should've emerged during Julie's death-dealing mission, under Truffaut's superintendence, the temperature never goes to the white heat. What happens is a series of occurrences that often take on a languid pace and show the follies of members of the sterner, like Coral (Bouquet), self-absorbed in his own luck with a woman voluntarily entering his garçonnière, or Clément Morane (Lonsdale), trying to impress Julie by mansplaining politics, or Fergus (Denner), a painter who is well-disposed to rattle on about his lust and what he has the hots for. None of them is remotely aware of the imminent danger from a honey trap. When a pretty woman with an intention to kill, her odds of success seems much more favorable than a forbidding look male. If a substantial frisson is wanting, and some of Julie's murderous methods are rather far-fetched (locking someone in a closet to die from asphyxiation is a novel idea!), the film nonetheless compensates it with Moreau in one of her most restrained roles. Nearly 40 then and down in the mouth, her beauty starts to fade but Truffaut is sensible enough to arm her with fetching coiffure and attires (exclusively in black or white, sometimes both, designed by Pierre Cardin). Julie is an avenging angel whose heart has died with her beloved husband, Moreau registers that flicker of hesitation when Julie is courted by a seemingly earnest Fergus (Denner is such a hard-hitting seducer, bristling with panache and virility), a glimpse of resuscitated hope reflected in her eyes as if it spawns a seed in her dead heart. The scene sublimely suggests that Julie is offered a new lease on life if she is willing to bury her past, will she take it? Moreau lets that impression go neither unnoticed nor overboard, such blink-and-you-will-miss-it precision is high-wire attainment. As an experiment, THE BRIDE WORE BLACK doesn't hit all the right marks, for one thing, Julie's indiscriminating precept is too irrational to clarify what makes her tick. But Truffaut, at any rate, offers a colorful palette of male hubris and idiosyncrasy, with Moreau's killer aplomb and cold calculation as its uncharitable exterminator. referential entries: Truffaut's MISSISSIPPI MERMAID (1969, 6.5/10), STOLEN KISSES (1968, 7.8/10); Jean Becker's ONE DEADLY SUMMER (1983, 7.8/10);

English Title: The Bride Wore BlackOriginal Title: La mariée était en noirYear: 1968Genre: Crime, Drama, MysteryCountry: France, ItalyLanguage: FrenchDirector: François TruffautScreenwriters: François Truffaut, Jean-Louis Richardbased on the novel by Cornell WoolrichMusic: Bernard HerrmannCinematography: Raoul CoutardEditor: Claudine BouchéCast:Jeanne MoreauMichel BouquetJean-Claude BrialyCharles DennerClaude RichMichael LonsdaleDaniel BoulangerChristophe BrunoAlexandra StewartSerge RousseauJacqueline RouillardVan DoudeJacques RobiollesRating: 6.8/10