She participated in various musical shows and recorded many popular songs in the 1960s and 1970s, mostly in collaboration with Serge Gainsbourg, Bob Zagury and Sacha Distel, including "Harley Davidson", "Je Me Donne A Qui Me Plait", "Bubble gum", "Contact", "Je Reviendrais Toujours Vers Toi", "L'Appareil A Sous", "La Madrague", "On Demenage", "Sidonie", "Tu Veux, Ou Tu Veux Pas?", "Le Soleil De Ma Vie" (the cover of Stevie Wonder's "You Are the Sunshine of My Life") and notorious "Je t'aime… moi non plus".
In 1952, she appeared on screen for the first time in Le Trou Normand. That same year, at age 18, she married director Roger Vadim, with whom she had been romantically involved for several years.
Although the European film industry was then in the ascendant, her personal rise was remarkable: she has been one of the few European actresses to receive mass media attention in the United States. She and Marilyn Monroe were the icons of female sexuality in the 1950s and 1960s and whenever she made public appearances in the United States the media hordes covered her every move.
Her films of the early and mid 1950s were lightweight romantic dramas, some of them historical, in which she was cast as ingénue or siren, often with an element of undress. She played bit parts in three English-language films, the British comedy Doctor at Sea (1955), Helen of Troy (1954), in which she was understudy for the title-role but only appears as Helen's handmaid, and Act of Love (1954) with Kirk Douglas. Her French-language films were dubbed for international release. "She is every man's idea of the girl he'd like to meet in Paris" said the film-critic Ivon Addams in 1955.
Vadim was not content with this light fare. The New Wave of French and Italian art directors and their stars were riding high internationally and he felt Bardot was being undersold. Looking for something more like an art-film to push her as a serious actress, he showcased her in And God Created Woman (1956) with Jean-Louis Trintignant.
The film, about an amoral teenager in a respectable small-town setting, was a big international success. She may have had an affair with her co-star Trintignant, but this was more likely a pre-release publicity gimmick. The film is often wrongly described as her first film (it was her seventeenth) and to have launched her overnight, but it did help move her towards the cinematic mainstream.
It also ruled out a transition to Hollywood, where she was thought too risqué to handle. The Doris Day era was in still in full swing and even Jane Russell in The French Line (1953) had been thought to be going too far by showing her midriff. Erotica like Bardot's Cette sacrée gamine (That Crazy Kid, 1955) was considered fine at the box-office as long as it was clearly labelled "European". Bardot's limited English and strong accent, while beguiling to the ears of men, did not suit rapid-fire Hollywood scripts. In any event, staying in Europe benefited her image when the 1960s began to swing and Hollywood slipped into the background for a while, and Bardot was voted honorary sex-goddess of the decade.
Divorced from Vadim in 1957, she married actor Jacques Charrier (1959-62), by whom in 1960 she had her only child, Nicolas-Jacques Charrier from whom she is estranged. She once referred to her only child as "a tumour". The marriage was preyed on by the paparazzi and there were clashes over the direction of Bardot's career. Her films became more substantial, but this brought a heavy pressure of dual celebrity as she sought critical acclaim while remaining to most of the world a glamour model.
Vie privée (1960), directed by Louis Malle has more than an element of autobiography in it. The scene in which, returning to her flat, Bardot's character is harangued in the lift by a middle-aged cleaning-lady calling her a tramp and a tart was based on an actual incident, and is a resonant image of celebrity in the mid-20th century.
Soon after, Bardot withdrew to the seclusion of Southern France and is now known to have attempted suicide, but as the sexual revolution of the early 1960s gathered momentum her lifestyle began to seem more like the norm and the pressure lifted. Through the sixties, she was happy to appear in glossy star-vehicles like Viva Maria (1969), to dabble in pop music and to play the role of glamour model and icon. In 1965 she appeared as herself in the Hollywood production Dear Brigitte starring Jimmy Stewart.
Her other husbands were German millionaire playboy Gunter Sachs (1966-69), and French right-wing politician, Bernard d'Ormale (1992-present). She has also had reputed relationships with many men including singers Serge Gainsbourg and Sacha Distel. In the late 1950s, she shared an exchange she considered “croiser de deux sillages” with writer John Gilmore, then an actor in France for a New Wave film to have starred Jean Seberg. Gilmore told Paris Match, “I felt a beautiful warmth with Bardot but found it difficult to discuss things to any depth whatsoever”.
She is recognised for popularising bikini swimwear in early films such as Manina (Woman without a Veil, 1952) and in her appearances at Cannes and in many photo shoots. She even sported an early version of the monokini from time to time. Though this was not considered extraordinary in France, it was considered nearly scandalous in the US. The fashions of the 1960s looked effortlessly right and spontaneous on her and she joined Marilyn Monroe and Jackie Kennedy, in becoming a subject for Andy Warhol paintings.
In 1970, the sculptor Alain Gourdon used Bardot as the model for a bust of Marianne, the French national emblem.
Mentions of Bardot in music
The first song to reference Brigitte Bardot was "Gimme' that Wine" by vocalese group Lambert, Hendricks and Ross on the Columbia label in 1960.
Indie singer Jordan Galland also has a song called "Brigitte Bardot". In 1966, Harry Belafonte recorded "Zombie Jamboree" which has an entire verse dedicated to Brigitte Bargot.
Bardot has also been referenced in many other songs, including "I Shall Be Free" (Bob Dylan), "We Didn't Start the Fire" (Billy Joel), "Message of Love" (The Pretenders), "I Think I'm Going To Kill Myself" (Elton John), "Warlocks" (Red Hot Chili Peppers), "You Went The Wrong Way, Old King Louie" (Allan Sherman), "You're My Favourite Star" (The Bellamy Brothers), "It's Not Enough" (The Who), "Contempt" (Silkworm), "Big Wedge" (Fish),"Brigitte Bardot" (Tom Zé), "Alegria, Alegria" (Caetano Veloso), "Loaded" (ZZ Top), "Brigitte Bardot" (Creature), "Bardot" (Marden Hill), "Shir Nevu'i Cosmi Aliz" (Yoni Rechter & Eli Mohar), "Smiles Like Richard Nixon" (The Bad Examples), "Bijou" (Stew), "Stratford-On-Guy" (Liz Phair), and "Brigitte Bardot T.N.T." (Pizzicato Five).
Ca Pourrait Changer
Brigitte Bardot Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Me fais des promesses
Que tu ne tiens pas,
Toi qui inventes
Des phrases méchantes
Pour te moquer de moi,
Ne souris pas, prends garde à toi.
Attention !
Yé yé yé yé !
Ça pourrait changer !
Toi qui espères
Me mettre en colère
Pour des riens du tout,
Toi qui m'agaces
Avec des grimaces
En guise de mots doux
Ne souris pas, prends garde à toi.
Crois-moi, la prochaine fois,
Attention !
Yé yé yé yé !
Ça pourrait changer !
Oui, pour toi, cela n'est qu'un jeu,
Mais, moi, je ne joue pas.
Et vraiment, si tu m'aimes un peu,
Alors, arrête-toi !
Et je sais d'avance
Que j'aurai la chance,
Quand le jour viendra,
D'être satisfaite
Devant ta défaite,
Lorsque tu me diras
Ne souris pas, prends garde à toi.
Crois-moi, la prochaine fois,
Attention !
Yé yé yé yé !
Ça pourrait changer !
Attention !
Yé yé yé yé !
Ça pourrait changer !
Attention !
Yé yé yé yé !
Ça pourrait changer !
Attention !
Yé yé yé yé !
Ça pourrait changer !
The song "Ca Pourrait Changer" by Brigitte Bardot is a warning to a lover who consistently makes promises they don't keep and says hurtful things to mock her. The repetition of "Ne souris pas, prends garde à toi" (Don't smile, be careful) emphasizes the seriousness of her message. Bardot is fed up with the game that her lover is playing and warns him that things could change if he continues.
She mentions how her lover tries to make her angry over insignificant things and aggravates her with silly faces in place of kind words. Despite her lover treating their relationship as a game, Bardot is not amused and knows she deserves better. She knows that one day, he will regret his actions and she’ll be satisfied when he admits that he was wrong.
Overall, the song is a message to someone who is playing with her heart and expecting her to accept their behavior. Bardot is warning her lover that he needs to change his ways before it is too late, and that things could turn sour if he doesn't.
Line by Line Meaning
Toi qui, sans cesse, Me fais des promesses Que tu ne tiens pas
You who constantly make promises to me that you don't keep
Toi qui inventes Des phrases méchantes Pour te moquer de moi
You who come up with mean phrases to mock me
Ne souris pas, prends garde à toi. Crois-moi, la prochaine fois, Attention ! Yé yé yé yé ! Ça pourrait changer !
Don't smile, be careful. Believe me, the next time, be careful! Hey hey hey hey! Things could change!
Toi qui espères Me mettre en colère Pour des riens du tout
You who hope to make me angry over nothing
Toi qui m'agaces Avec des grimaces En guise de mots doux
You who annoy me with silly faces instead of sweet words
Oui, pour toi, cela n'est qu'un jeu, Mais, moi, je ne joue pas.
Yes, for you, it's just a game, but I don't play games.
Et vraiment, si tu m'aimes un peu, Alors, arrête-toi !
And really, if you love me even a little, then stop it!
Et je sais d'avance Que j'aurai la chance, Quand le jour viendra, D'être satisfaite Devant ta défaite, Lorsque tu me diras
And I know in advance that I will have the chance, when the day comes, to be satisfied at your defeat, when you say to me:
Attention ! Yé yé yé yé ! Ça pourrait changer !
Be careful! Hey hey hey hey! Things could change!
Attention ! Yé yé yé yé ! Ça pourrait changer !
Be careful! Hey hey hey hey! Things could change!
Attention ! Yé yé yé yé ! Ça pourrait changer !
Be careful! Hey hey hey hey! Things could change!
Lyrics © Sony/ATV Music Publishing LLC
Written by: BOB BARRATT
Lyrics Licensed & Provided by LyricFind
@girlfullofsorrow
I really like her! Shes so cool 😍🤗😎
@mariacristinagrossi799
Really beautiful!
@furosemide7400
Un monument national !!!
@judyreeves4029
she was beautiful, in the '60s, she was it.
@mortimerzilch2608
she looks better in real life than in the movies...
@ThePlataf
Not nowadays she doesn't.
@Filmarkiv
@@ThePlatafPerhaps cuz she is 80+?? You nut…
@talemd341
L'époque où être français était une fierté.
@jeanmauricegrenier9561
B B dans tous ses états, sublime !
@cesaralemao6591
😘🇧🇷