Truffaut began as a critic.
It's for that reason that his plot structure for "The Bride Wore Black" has the deliberate pace of a funeral dirge. One by one, "The Bride" seeks out disparate men who seem to have nothing in common and devises intricate ways to win their trust and take their lives, each crime pre-meditated and carried out with a cold efficiency--Moreau barely registers any emotion at all. But, why? What's the reason? Why these men? Truffaut takes his time revealing everything, but by that time the audience may be getting impatient with so many murders and no punishment. Truffaut even has an answer for that in his movie machinations.
One can see Truffaut still experimenting with his medium with varying results. For example, the frightening of a chamber-maid by "The Bride" would play a bit better if Truffaut hadn't insisted on a flash-cut of only a couple of frames. Moreau barely registers before the angle has changed immediately, and the maid has spun around (impossibly fast, given the split-second amount of time that bridging shot took). And after utilizing Hitchcock's best composer, Bernard Herrmann, for the earlier "Farenheit 451," here Herrmann's score is a bit too lush for the visuals that Truffaut has shot. It's heart is on its sleeve, whereas the rest of the movie doesn't seem to have any heart at all. Perhaps Herrmann was over-compensating for the movie he saw, and went over the top to express the emotions that Truffaut keeps submerged.
Finally, one can't watch the movie and help but think this is where Quentin Tarantino got his inspiration for "Kill Bill," only tarted it up with his obsessions--prolonged violent sequences, cribbed movie styles, and the expected but ultimately pointless comic-book discussion. Somehow, "The Bride Wore a Yellow Track Suit" just doesn't cut it.*
*no pun intended.