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 & 4 nominations. See more awards »





Cast overview, first billed only:
Jeanne Moreau ... Julie Kohler
Michel Bouquet ... Robert 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 ... Madame Morane
Luce Fabiole Luce Fabiole ... La mère de Julie
Michèle Montfort Michèle Montfort ... Le modèle de Fergus
Jacqueline Rouillard Jacqueline Rouillard ... La logeuse de Coral
Paul Pavel Paul Pavel ... Le mécanicien de Delvaux
Gilles Quéant Gilles Quéant ... Examining judge (as Gilles Queant)
Serge Rousseau Serge Rousseau ... David


After a botched attempt to put an end to her miserable existence, the emotionally scarred and irreparably destroyed widow, Julie Kohler, summons up the strength to pack up her things and leave her mother and town behind. Haunted by a horrible, life-altering incident and utterly surrendered to the palpable void of paranoia, Julie embraces black, the colour of death, and embarks on a devilish mission of revenge. Now, as the sinful past puts five seemingly unrelated men in harm's way, acknowledging death may be liberating. But, is there a limit to relentless Julie's determination? Above all, is there an escape from the clutches of the grim avenger with the doleful, dark eyes? Written by Nick Riganas

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:

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Did You Know?


The record that Julie plays is the first movement of Vivaldi's Mandolin Concerto in C major, unknown recording, See more »


When Julie goes to Fergus's studio the second time to model, he has her wear a special bracelet by Calder. But seconds before, when she is in the bathroom changing, she is clearly already wearing the bracelet. See more »


Coral: I was beginning to think you wouldn't come at all.
Julie Kohler: You're sweet, but you know I was sure you would say something stupid.
Coral: You're rather hard on me. But I don't mind much.
See more »


Referenced in Tagos ng dugo (1987) See more »


Mandolin Concerto in C major, RV 425 - Allegro
Written by Antonio Vivaldi
See more »

User Reviews

From One Auteur To Another: Truffaut's Ode To Hitchcock...
15 April 1999 | by Don-102See all my reviews

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: 8 1/2 of 10

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France | Italy



Release Date:

25 June 1968 (USA) See more »

Also Known As:

The Bride Wore Black See more »


Box Office


$747,000 (estimated)

Opening Weekend USA:

$11,206, 25 April 1999

Gross USA:


Cumulative Worldwide Gross:

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Company Credits

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Technical Specs


Sound Mix:



Color (Eastmancolor)

Aspect Ratio:

1.66 : 1
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