Word: wore
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Dates: during 1960-1969
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...BRIDE WORE BLACK. Juggling erotica and neurotica, Jeanne Moreau plays a wronged bride out to revenge her murdered husband. Director Francois Truffaut's homage to Hitchcock has all the ingredients for a tense film in the genre of suspense...
...conservative than those in finance and insurance. At Chicago's Northern Trust Co., a tradition requiring all officers to wear hats to work has been abandoned, but sport coats remain strictly taboo. San Francisco's Wells Fargo Bank prohibits beards, even though, admits one officer, "our founders wore them." Many secretaries employed in lower Manhattan's financial district live with their parents in Brooklyn, Queens and New Jersey, thus dress with far more restraint than their emancipated counterparts working in the midtown area. "That's why," says a broker at Lehman Bros.' Wall Street area...
...wildly more mature stylistically, a riveting blend of calculated camera movement in sensual decor with brilliantly cut sequences of action employing the zoom lens. Far from stagnating in the world of commercial mystery films, Chabrol has emerged the finest new stylist in France, far superior to Truffaut (whose Bride Wore Black pales in comparison), and in many ways surpassing Godard and Resnais...
...Bride Wore Black is perhaps less an homage to Hitchcock than Truffaut's own attempts at working Hitchcock-style, planning every shot and cut in advance of the shooting. Coutard's claustrophobic framing suggests "plan-sequence," sketches of shots realized by the camera, and there are no traces of the nouvelle vague hand-held technique of Truffaut's films through Soft Skin. A shot will follow a telephone wire in close-up through two rooms, stopping briefly at a closeup of the phone, then dollying into a medium close shot of the victim, unaware his phone wire has been severed...
...workingout of stylistic change is often a laborious process, and The Bride Wore Black reflects much of that in its shaky moving shots and occasional harsh cuts. But anything made with any kind of style is good to see these days, given what Hollywood is releasing, and the pleasure of having a new Truffaut around is diminished only by the Boston release this week of Bunuel's Belie de Jour, and Chabrol's incredible The Champagne Murders, about which we will have more to say later...