The Bridesmaid (film)
|Directed by||Claude Chabrol|
|Produced by||Françoise Galfré
|Screenplay by||Claude Chabrol
|Based on||The Bridesmaid by
|Music by||Matthieu Chabrol|
|Edited by||Monique Fardoulis|
France 2 Cinéma
|Distributed by||First Run Features|
|Box office||$3.3 million|
Philippe (Magimel) lives on the outskirts of Nantes with his mother Christine (Clément) who is a hairdresser and with his two younger sisters. One day, a local girl mysteriously disappears. Soon after, Philippe's mother introduces her children to Gerard (Le Coq) -- a wealthy local businessman who appears interested in pursuing her. She gives him a sculpture of the Roman goddess Flora that Philippe had given her which was in the family garden.
Not too long after receiving the gift, Gerard appears to vanish without a trace. Philippe makes it his mission to recover the sculpture. He finally tracks it down and places it in his closet without telling anyone. Later, at his sister's wedding, Philippe meets attractive bridesmaid Senta (Smet) and the two quickly fall for each other passionately. She claims to be a model and aspiring actress who lives in a huge villa which she says she inherited from her father. The sexy Senta may be beautiful and irresistible, yet she also seems to have several macabre ideas about life, love, and death. As their affair intensifies, she asks him to kill a stranger to prove his love. He at first thinks she is joking but then realizes she is actually serious about carrying out the plan.
|Benoît Magimel||Philippe Tardieu|
|Laura Smet||Stéphanie "Senta" Bellange|
|Bernard Le Coq||Gérard Courtois|
|Suzanne Flon||Madame Crespin|
|Solène Bouton||Sophie Tardieu|
|Anna Mihalcea||Patricia Tardieu|
|Thomas Chabrol||Lieutenant José Laval|
Desson Thomas of The Washington Post:
|“||Chabrol arranges his story with a subtle, almost clinical accumulation. And it takes close attention to the movie's seemingly innocuous details to understand his deeper purposes. But the filmmaker has never been as interested in the machinations of plot as much as aberrant human nature... its rewards come from sustained concentration rather than from relaxed observation.||”|
Ty Burr of The Boston Globe:
|“||The film reveals its secrets slowly, and Chabrol tightens the screws not according to the rules of Hollywood suspense but with a cool, level gaze. Of the great filmmakers of the French New Wave, he may have changed the least over the years, and there's a continuity of tone and morbid inquiry that runs from Le Boucher (1970) through La Ceremonie (1995, and also based on Rendell) to The Bridesmaid. Comparisons to Hitchcock have been made throughout his career, but they serve to define differences more than similarities. Hitch made movie suspense showy and fun. Chabrol grounds it in realism and ponders the hazy line where eccentricity turns homicidal.||”|
- "Critic Reviews for The Bridesmaid at Metacritic". Metacritic.com. Retrieved 2011-08-16.
- "Critic Review for The Bridesmaid on". Washingtonpost.com. 2006-11-16. Retrieved 2011-08-16.
- "The Bridesmaid (La Demoiselle d'Honneur) Movie Review - The Bridesmaid (La Demoiselle d'Honneur) Movie Trailer - The Boston Globe". Boston.com. 2006-09-22. Retrieved 2011-08-16.