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The eyes accept the cut and its relationship to the scene as a whole. Menke achieves and maintains a flow from shot to reaction to cut-away without being abrupt or obvious in striking the audience.
Following a reaction shot of the minister, the Bride turns around to face her friends who are sitting behind her...
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As she turns to the left, the cut moves on the action and the shot is smooth. The cutting and positioning are not in conflict with each other. The shot of the Bride turning matches seamlessly with the side shot of her talking. It feels as though it was one continual movement, when it was actually a cut...
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