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    • Contempt. Brigitte Bardot, Jack Palance, Michel Piccoli. 54 votes. A philistine in the art film business, Jeremy Prokosch (Jack Palance) is a producer unhappy with the work of his director.
    • The Truth. Brigitte Bardot, Jacques Perrin, Paul Meurisse. 67 votes. The Truth is a 1960 French film directed by Henri-Georges Clouzot and starring Brigitte Bardot.
    • The Light Across the Street. Brigitte Bardot, Daniel Ceccaldi, Jean Debucourt. 19 votes. The Light Across the Street is a 1956 French drama film starring Brigitte Bardot directed by Georges Lacombe.
    • Viva Maria! Brigitte Bardot, Jeanne Moreau, George Hamilton. 43 votes. Gorgeous IRA operative Maria (Brigitte Bardot) flees the British authorities and finds herself in Mexico, where she meets a stunning woman also named Maria (Jeanne Moreau), a singer in a traveling circus.
  1. Sort by List order. 1. ... And God Created Woman. 1956 1h 30m PG. 6.3 (9.6K) Rate. In sunny St. Tropez, a young woman loves one brother but marries the other. Director Roger Vadim Stars Brigitte Bardot Curd Jürgens Jean-Louis Trintignant. 2.

    • ‘Invitango’
    • ‘Les Amis de La Musique’
    • ‘Je Me Donne à Qui Me Plaît’
    • ‘À La Fin de L’Été’
    • ‘Ne Me Laisse Pas L’Aimer’
    • ‘Contact’
    • ‘Un Jour Comme Un Autre’
    • ‘C’est Une Bossa Nova’
    • ‘Bubble Gum’
    • ‘Bonnie and Clyde’

    Get your dancing shoes on, you’re invited to dance the tango with one of the hottest women of the 1960s. Explaining with a literal step-by-step what we can expect from this experience, the vocals and rhythm of ‘Invitango’ subliminally make us dance — and it’s hard to stop.

    Bardot’s playful vocals encourage us to twist around the room with this trumpet-led masterpiece flirting with twenties-like melodies. “Je suisle jazz de 1925” [“I am the jazz of 1925”] she announces — and she most certainly knows how to bring it back to life.

    Bye-bye Roméo and Juliet, hello daring and seductive Brigitte Bardot. Illustrating the feminine emancipation of that time, the singer explains how she “gives herself” to whoever she wants. And if you were lucky enough to walk past her at that time, you would certainly be anything but disappointed.

    We all know how nostalgic we feel once summer is over. This heartfelt piece dealing with her beloved beach and lover is the perfect representation of what we might feel once all those sunny summer days come to an end. Her soft voice takes us through this poetic-like song, made up of rhymes and peaceful melodies.

    Brigitte Bardot’s backing vocals whispering as though it was her mind speaking out loud “Ne me laisse pas l’aimer” [“Don’t let me love him”]. However, throughout the lively track, the singer tells us how she has noticed the attraction between this boy and girl. Although it starts off as a sort of mischievous song, it ends with a bang when Bardot si...

    A weird yet fascinating combination of psychedelic and futuristic sounds, signé Serge Gainsbourg. Taking us into outer space with this intriguing song, BB delivers probably one of her strangest vocal performances to date, with a chorus full of echoes and a melody that would freak everyone out and make them feel uncomfortable, back in the 1960s.

    The gentle strumming of the guitar and the light, delicate trumpet beautifully come together on ‘Un jour comme un autre’. Yes, this is another heartbreak song, and when listening closely to the lyrics, Bardot does melt our hearts with her sincere lines. “Toi tu étais pour moi / Tout ce que j’espérais / Toi tu étais ma vie et même un peu plus / Tu é...

    Originally released as the B-side of another one of Bardot’s classics — ‘Nue au soleil’ — this track isn’t actually a bossa-nova when listening to the melody of it, but BB’s voice is something else. Her soft whispers are dreamy, and the light feel of this piece is aesthetically pleasing.

    Another song written by her then lover Serge Gainsbourg. The enchanting melody of this track adds to the sensuality of the pretty blonde’s voice. Tailored especially for her, Gainsbourg made sure to accentuate her already strong sex appeal with rather daring yet playfully innocent lyrics.

    One of the most sensational couples of the 1960s reunited on this four-minute track, identifying themselves with the well-known lovers Bonnie Clark and Clyde Barrow. And we can all guess how that ended. Gainsbourg and Bardot would go on to strike up a fiercely romantic and intensely fiery love affair. Returning to the song that brought them togethe...

  2. Brigitte Anne-Marie Bardot (/ brɪˌʒiːt bɑːrˈdoʊ / ⓘ brizh-EET bar-DOH; French: [bʁiʒit baʁdo] ⓘ; born 28 September 1934), often referred to by her initials B.B., [1][2] is a French former actress, singer, and model as well as an animal rights activist. Famous for portraying characters with hedonistic lifestyles, she is one of the ...

    • Et Dieu Créa la Femme (And God Created Woman) - 1956. Directed by Brigitte Bardot's first husband, Roger Vadim, "Et Dieu Créa la Femme" catapulted Bardot to international stardom.
    • Voulez-vous Danser avec Moi? (Come Dance with Me) - 1959. Directed by Michel Boisrond, this musical comedy showcases Bardot's versatility as an actress.
    • Le Mépris (Contempt) - 1963. Jean-Luc Godard's "Le Mépris" is a masterpiece of French New Wave cinema, with Brigitte Bardot in a starring role alongside Jack Palance and French actor Michel Piccoli.
    • En Effeuillant la Marguerite (Mademoiselle Striptease) - 1956. Directed by Marc Allégret, this charming comedy features Bardot as Agnès Dumont, an aspiring young actress who inadvertently becomes the star of a burlesque show.
  3. But it is, primarily, the meeting of New Wave ‘super-auteur’ Jean-Luc Godard and Bardot, the mass-media celebrity. Although their collaboration on set was less than idyllic, the result on screen is arguably both his and her best film. 3. La Parisienne. 1957 1h 26m.

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  5. Apr 8, 2013 · Analysing all Bardot’s output, encompassing popular comedies and melodramas, work with New Wave directors Louis Malle and Jean-Luc Godard, and international productions such as Dear Brigitte (1965) and Shalako (1968), Vincendeau shows how Bardot’s enduring fame is based on her status as a sexual, lifestyle, musical, and fashion role model and even, in her guise as Marianne, the emblem of the French Republic, an icon of national identity.