RipDelight This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.

AnhartLinkin This story has more twists and turns than a second-rate soap opera.

StyleSk8r At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Zlatica One of the worst ways to make a cult movie is to set out to make a cult movie.

jotix100 Ruth Rendell's novel "The Bridesmaid" is the basis for this French film directed by Claude Chabrol. The director had a huge success adapting another Rendell's book, "A Judgment in Stone" that became the hit "La Ceremonie". Ms. Rendell stories always have a central flawed character, as is the case with Senta, a strange young woman.The story begins as Sophie and her sister Patricia are watching a news program on television, a sensational crime is in the headlines. Their single mother, Christine, works as a hairdresser from her modest, but comfortable home. Philippe, who is the other member of this family does not approve of the man his mother is seeing. To make matters worse, Christine's intentions of involve keeping Gerard Courtois, who clearly has no intention of marrying her.As the wedding approaches, a bridesmaid is needed to complete the party, the groom suggest a cousin, Stephanie, a strange young woman who has named herself Senta, after the heroine of the Wagner opera, The Flying Dutchman. At the party that follows the wedding, Senta meets Philippe, who finds her intriguing. Their relationship will have fatal consequences because of Senta's strange behavior and possessiveness.We had a vivid recollection of the novel, which we enjoyed tremendously. The adaptation of Mr. Chabrol and his collaborator Pierre Leccia, while following the story line of the novel turns out to be not as involving than the written page, although the director gets the essence of the book.Benoit Maginel, a young French actor had worked with Mr. Chabrol prior to this film, and went to star in 'La fille coupee en deux", does well as Philippe, the young man that falls hopelessly in love with a deranged woman. Laura Smet plays Senta, the woman who drives Philippe crazy. Aurore Clement appears as Christine, the mother. Michel Duchaussoy has a brief role as the vagrant that annoys Senta.Eduardo Serra, the cinematographer, keeps the dark atmosphere of the novel in check with the gray skies of Nantes and locations around Loire-Atlantique to great effect. The soundtrack is by the director's own son Matthieu. Even though this is not one of the best films by Mr. Chabrol, it must be viewed by all his fans.

gradyharp The films of French Cinema master Claude Chabrol have been some of the quirkier, intelligent, strange, and creative works to come out of France (La Fleur du mal, Merci pour le chocolat, Au coeur du mensonge, Rien ne va plus, La Cérémonie, L'Enfer, Madame Bovary, Dr. M, etc). His works are marked with sinister underpinnings and his technique has been to place his characters in situations that challenge them to behaviors they consider bizarre until they understand the core of their somewhat deranged personalities. LA DEMOISELLE D'HONNEUR (THE BRIDESMAID) succeeds as a art work on so many levels that the viewer is inclined to forgive some of the dangling missing pieces in character and plot development that prevent this film from being Chabrol's finest. The setting, pacing, cast and concept are intriguingly seductive: that is enough to make the film work well.The Tardieu family is in the midst of preparing for the wedding of one daughter Sophie (Solène Bouton), learning to accept the new love affair of the mother Christine (Aurore Clément) to a wealthy newly divorced man Gérard (Bernard Le Coq), becoming used to the edgy antisocial behavior of daughter Patricia (Anna Mihalcea), and all the while being cared for by the successful contractor son Philippe (Benoît Magimel). On the television is the report of a murdered young woman and the disruption of a television show frustrates the obsessive Philippe in his work to keep the family focused. We jump to Sophie's wedding to nerdy Jacky (Eric Seigne) whose cousin Stéphanie "Senta" Bellange (Laura Smet) is the bridesmaid of the title. The strange but sensuous Senta captures Philippe's eye and a rather torrid love affair begins. Senta is passionate and makes Philippe agree to four demands to prove he loves her: the last two (killing someone/anyone) and having sex with a same sex partner) jolt Philippe but he throws his usual caution to the wind and proceeds with the pairing. A homeless man who lives at Senta's grimy cellar lodging door repulses her, and when a police report that the man has been found dead, Philippe falsely 'confides' to Senta that he is responsible. Senta then promises to kill Gérard as her half of the bargain: Gérard has avoided Philippe's mother and Philippe feels animosity toward anyone who would disturb his beloved mother. The plot thickens, then boils: the 'murders' change from reality to mistaken identity to heinous ends. Philippe has become immersed in Senta's madness, leaving an ending that remains 'in media res'.Chabrol leaves strange clues scattered about for the astute eye to discover, at times in retrospect, and it is this trait that makes the story so fascinating. The cast is superb, with Benoît Magimel proving that his success in 'The Pianist' was not a fluke. He is a gifted actor and maintains an electrifying screen presence. This may not be Chabrol's best film, but it is twisted enough to keep the viewer tensely focused on the very strange story and on the complexly interesting set of characters in this very French film noir! Grady Harp

writers_reign This is yet another take on Chabrol's ongoing exploration of French suburbia and on balance it's no better or worse than most of his others. From the outset - Philippe Tardieu returns home to find his mother and sisters watching a news report involving the mysterious and possibly tragic disappearance of a young girl and turns the TV off - it's obvious that Philippe (Benoit Magimal) is destined to wind up on the TV himself having descended from an initially healthy to an ultimately unhealthy state of mind so that all we need now is a catalyst. Chabrol makes us wait and doesn't introduce Senta (Laura Smet) until about 30 minutes into the movie. From that point it's a case of watching as Senta eats into Philippe's brain the way maggots eat into a cadaver for, to all intents and purposes Philippe is a dead man from his first encounter with Senta. Chabrol likes to take his time and dallies over a situation involving Philippe's widowed mother Christine (Aurore Clement) and a possible replacement Gerard Courtois (Bernard Le Coq). Chabrol clearly sees Le Coq as 'heavy' material; in his last film Fleur du Mal Le Coq had a much bigger part as a much bigger villain and Suzanne Flon suffers a similar fate segueing from a main supporting role in Fleur to little more than a cameo here. Benoit Magimal is the kind of French actor I've never been able to warm to, a kind of Vincent Cassell-lite, seething with contained violence, trying for 'cool' and emerging as 'sullen' though in fairness Magimal here gets nearer to playing an essentially 'nice' guy than Cassell managed in L'Appartement. Laura Smet is excellent as the not-quite beautiful but very sensuous with it Senta as well she may be given her pedigree - the daughter of the great Nathalie Baye and, somewhat improbably, Johnny Hallyday. Overall it's a pleasant if not gripping enough entry, one which I've now seen twice and will possibly see again.

guy-bellinger Just like Patricia Highsmith, Ruth Rendell is a perfect inspiration to Claude Chabrol. Following Patricia Highsmith's example, Ruth Rendell minutely explores the troubled minds of unbalanced characters and the effects of their dangerous conduct on the people they mix with, the latter unaware of their mental imbalance. And what is director Chabrol pet theme? Just that!This second child of a love match ( "La Demoiselle d'Honneur" is "La Cérémonie"'s younger sister ) is - unsurprisingly - as good as the first product of their encounter. This time around, two hearts, two bodies are irrepressibly attracted to each other but will the sick mind of one contaminate the other's healthy brain? This is what the story is about and fascination slowly but surely finds its way to the viewer. Indeed Chabrol's talent mainly lies in his ability to make the story shift from the ordinary ( Philippe's family life, his job, the wedding ) to the uncanny ( Senta's odd ideas, the queer characters living in a bizarre house, Senta's sincere love tainted with unsettling ideas).Benoît Magimel and Laura Smet embody the cursed couple to perfection.In addition, there are excellent supporting performances, mainly from Aurore Clément ( the mother whose suffering is made apparent despite the character's efforts to hide it ), from young Anna Mihalcea ( striking as a young tortured rebel ) and from Michel Duchaussoy ( very amusing as good-natured tramp ).All this fine movie lacks to be a genuine masterpiece is an extra dose of intensity. But , as it is, it's quite worth seeing.