Her plan involved serving Diane a glass of champagne laced with diazepam, but after Diane started feeling the effects of the drink, she went up to Valerie and threatened to have her husband's medical license revoked, while also stating that she would have Valerie put away for attempted murder.Īfter overhearing Diane's threat to Valerie, Lacey left and checked on Diane, who lashed out at Lacey and threatened to have her charged with conspiracy. Though several people were upset and bothered by Diane's behavior, Valerie's anger reached the point where she actually attempted to kill Diane. Among Diane's many offensive moments was the toast, where Diane expressed her disappointment over Adam marrying Jill, saying that Jill would taint their family bloodline. They were the bridesmaids for Jill Shoemaker, who was getting married to Adam Chase.Īdam Chase was the son of famed lawyer Diane Chase, who antagonized many people-including the bridesmaids-during the reception. Chabrol grounds it in realism and ponders the hazy line where eccentricity turns homicidal.Evil bridesmaids Valerie Whitehall (top left), Lacey Finn (top right), Cindy Jansen (bottom left), and Mindy Faberge (bottom right)Ĭindy Jansen (Claire Coffee), Lacey Finn (Amanda Seyfried), Valerie Whitehall (Rachel Miner), and Mindy Faberge (Rheagan Wallace) are the main villainesses from "Rashomama," episode 6.21 of CSI (airdate April 27, 2006). Comparisons to Hitchcock have been made throughout his career, but they serve to define differences more than similarities. 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. 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. its rewards come from sustained concentration rather than from relaxed observation. But the filmmaker has never been as interested in the machinations of plot as much as aberrant human nature.
And it takes close attention to the movie's seemingly innocuous details to understand his deeper purposes. Website assigned a 74 out of 100 based on 20 reviews, indicating "generally favorable reviews." Ĭhabrol arranges his story with a subtle, almost clinical accumulation. As the police arrive, Philippe tells Senta that he will never leave her. Philippe returns to Senta's house, and she confesses to him that she has killed a young woman who wanted to steal her previous boyfriend. He then meets the homeless man whom he had claimed to have murdered, but whose reported death was a case of mistaken identity. When he is released from the police station, Philippe calls Senta and tells her that they should break up. A police inspector informs Philippe that another man was killed at the same location, and asks Philippe to explain his presence there.
Relieved that Senta is not a murderer, he gives her the sculpture of Flora and asks her to marry him. Philippe, not wanting to believe that she has really done it, goes to Gerard's house and finds that he is still alive. Philippe presents a news article about a dead tramp as proof that he has done the deed, and Senta, in return, tells him that she has killed Gerard. When he refuses, she kicks him out of her house, telling him he doesn't really love her. As their affair intensifies, she asks Philippe to kill a stranger to prove his love.
The sexy Senta may be beautiful and irresistible, yet she also invents stories about herself and has macabre ideas about life, love, and death. She claims to be a model and aspiring actress who lives in a huge villa which she says she inherited from her father. Later, at his sister's wedding, Philippe meets attractive bridesmaid Senta ( Smet) and the two quickly fall for each other passionately. He finally tracks it down and places it in his closet without telling anyone. Philippe makes it his mission to recover the sculpture. Not too long after receiving the gift, Gerard appears to vanish without a trace, presumably in order to avoid contact with Christine. She gives him a sculpture of the Roman goddess Flora that had been in the family garden. Soon after, Philippe's mother introduces her children to Gerard (Le Coq) - a wealthy local businessman who appears interested in pursuing her. One day, a local girl mysteriously disappears. Philippe ( Magimel) lives on the outskirts of Nantes with his mother Christine ( Clément) who is a hairdresser and with his two younger sisters.