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).
Invitango
Brigitte Bardot Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
De ce tango présqu'argentin
Où je ferai la connaissance
De vôtre corps contre le mien.
Où vous vous ferez la découverte
De cet exotique entretien
Lorsque la musique est offerte
Entrez dans mon tango
Et je vous danserai
Les yeux à demi clos
Perdu au milieu des reflets
De la musique qui nous enmène
Quand les violons racontent leur peine.
Nos doigts enmêlés l‘un à l'autre
Comme les pétales d'une fleur
Vous éprouverez que je suis vôtre
Et que vous m'êtes proche du cœur.
Je vous dirai en espagnol
Les mots d'amour que je connais
Et nous verrons bien qui s'affole
Le premier des deux sous les faits.
Entrez dans mon tango
Et je vous danserai
Les yeux à demi clos
Perdu au milieu des reflets
De la musique qui nous enmène
Quand les violons racontent leur peine.
Je te tutoie nous avons l'age
De nous dire tu sans se connaître
Et puisque le tango t'engage
Pour toujours à me reconnaître.
Autant ne pas faire de manières
Et nous mettre à nous embrasser
Puisque on a baissé les lumières
Pour ne pas nous intimider.
Entre dans mon amour
Je t'argentierai
Jusqu'au lever du jour.
Pour voir le pays qui te plaît.
Le tango seul est responsable
De ce beau voyage inoubliable.
Les autres ont d'étranges questions.
Ne les écoute surtout pas.
Tout les prétextes leur sont bon
Pour te faire déboiter le pas.
De cette érotique cadence
Que va-t-il nous rester plus tard?
Je sais où le tango commence
Où finit-il dans cette histoire...
De cet tango prèsqu'argentin?
Je vous invite à l'indécence.
The first verse of Brigitte Bardot's song Invitango invites the listener to indulge in the indecency of this almost-Argentine tango. She promises to intimately know their body against hers and to discover exotic encounters through the music. The singer assures her partner that when the music plays, they need to follow it. In the chorus, Bardot encourages her partner to enter into her tango, where they will dance with their eyes semi-closed and get lost in the reflections of the music as it takes them away. The violins tell a story of sorrow, and their fingers are tied together like the petals of a flower as they dance.
In the second verse, Bardot tells her partner that she will teach them Spanish words of love. They will see who becomes overwhelmed first by the music and the dance. She implies that they are both mature enough to address each other casually, having reached the age where they can say "tu" without knowing each other. She encourages them to embrace each other in the dance and not bother about others' questions. During the bridge and final verse, Bardot promises to show her partner the world and take them on an incredible journey because the tango alone is responsible for their unforgettable adventure.
Line by Line Meaning
Je vous invite à l'indécence
I am inviting you into a world of impropriety and misbehavior.
De ce tango présqu'argentin
To dance a nearly Argentine tango with me.
Où je ferai la connaissance
Where we will become acquainted.
De vôtre corps contre le mien.
With your body pressed against mine.
Où vous vous ferez la découverte
Where you will discover
De cet exotique entretien
The exotic conversation I have to offer.
Lorsque la musique est offerte
When the music is played,
Il faut la suivre, sachez le bien.
It must be followed, make no mistake.
Entrez dans mon tango
Step into my tango.
Et je vous danserai
And I will dance for you,
Les yeux à demi clos
Eyes half closed,
Perdu au milieu des reflets
Lost in between the reflections,
De la musique qui nous enmène
Of the music that takes us away.
Quand les violons racontent leur peine.
When the violins tell their stories of pain.
Nos doigts enmêlés l‘un à l'autre
Our fingers tangled together
Comme les pétales d'une fleur
Like the petals of a flower,
Vous éprouverez que je suis vôtre
You will know that I am yours.
Et que vous m'êtes proche du cœur.
And that you are close to my heart.
Je vous dirai en espagnol
I will tell you in Spanish,
Les mots d'amour que je connais
The words of love I know,
Et nous verrons bien qui s'affole
And we will see who gets flustered first
Le premier des deux sous les faits.
Between the two of us.
Je te tutoie nous avons l'age
I will address you informally, we are of an age,
De nous dire tu sans se connaître
To call each other 'tu' without really knowing each other,
Et puisque le tango t'engage
And since the tango involves you,
Pour toujours à me reconnaître.
To always recognize me,
Autant ne pas faire de manières
We might as well not be so formal,
Et nous mettre à nous embrasser
And start to kiss each other,
Puisque on a baissé les lumières
Since the lights have been dimmed,
Pour ne pas nous intimider.
To not intimidate us.
Entre dans mon amour
Come into my love,
Je t'argentierai
I will show you the way,
Jusqu'au lever du jour.
Until the break of dawn.
Pour voir le pays qui te plaît.
To see the country that you like.
Le tango seul est responsable
Only the tango is in charge,
De ce beau voyage inoubliable.
Of this unforgettable beautiful journey.
Les autres ont d'étranges questions.
The others have strange questions,
Ne les écoute surtout pas.
Do not listen to them,
Tout les prétextes leur sont bon
They will use any excuse,
Pour te faire déboiter le pas.
To trip you up.
De cette érotique cadence
Of this erotic cadence,
Que va-t-il nous rester plus tard?
What will be left for us later?
Je sais où le tango commence
I know where the tango begins,
Où finit-il dans cette histoire...
But where does it end in this story...
De cet tango prèsqu'argentin?
Of this nearly Argentine tango?
Writer(s): Jean Max Riviere, Claude Jean Harry Bolling Copyright: Vendome Ed. Musicales Sarl.
Contributed by Eliana I. Suggest a correction in the comments below.
@germann6431
Je vous invite à l'indécence
De ce tango presqu' argentin
Où je ferai la connaissance
De votre corps contre le mien.
Où vous ferez la découverte
De cet exotique entretien
Lorsque la musique est offerte
Il faut la suivre sachez le bien.
Refrain :
Entrez dans mon tango
Et je vous danserai
Les yeux à demi-clos
Perdus, au milieu des reflets
De la musique qui nous emmène...
Quand les violons
racontent leur peine.
Nos doigts emmêlés l'un à l'autre
Com-me les pétales d'une fleur
Vous prouverons que je suis vôtre
Et que vous m'êtes proche du cœur...
Je vous dirai, en espagnol,
Les mots d'amour que je connais
Et nous verrons bien qui s'affole
Le premier des deux sous l'effet...
(refrain)
Je te tutoie, nous avons l'âge
De nous dire "tu" sans se connaître
Et puisque le tango t'engage
Pour toujours à me reconnaître...
Autant ne pas faire de manière
Et nous mettre à nous embrasser
Puisqu'on a baissé les lumières
Pour ne pas nous intimider...
Entre dans mon amour
Je t'argentinerai
Jusqu'au lever du jour
Pour voir, le pays qui te plait
Le tango seul est responsable...
De ce beau voyage inoubliable
Les autres ont d'étranges questions
Ne les écoute surtout pas
Tous les prétextes leurs sont bons
Pour te faire déboîter le pas...
De cette érotique cadence
Que va-t-il nous rester plus tard ?
Je sais où le tango commence
Où finit-il dans cette histoire...
De ce tango presqu'argentin.
@peterchambers2553
I have this song on cd and it is great to see the video on YouTube. Thanks for uploading.
@jean-lucb565
On oublie souvent que Bardot avait une voix magnifique.
@martinemontagnac4975
Délicieux !!!!
@chantaltaille7391
Quelle jolie Femme...je l adoooore, mon cher Époux aussi l aimait beaucoup !....
De telles Femmes, dans la rue, sur les plages, on n en voit plus... où sont les jolies filles??....
MERCIIii Brigitte, portez vous bien....
Bel été avec l Amour de vos chers animaux !
GRATITUDE
@Denis-yc6qe
Boñne fête ma tendre amie de 23 ans portez vous bien .bises votre Denis.immense respect.
@tamaraleable
C'est très sensuel !
@alexismartinez8343
1:54 - 2:28 Brigitte Bardot look so cute and beautiful relaxing on those animal fur pelts! I wish she could do more videos like these! 😍😘 ❤💝 🌷🌸🌼🌹
@germann6431
Je vous invite à l'indécence
De ce tango presqu' argentin
Où je ferai la connaissance
De votre corps contre le mien.
Où vous ferez la découverte
De cet exotique entretien
Lorsque la musique est offerte
Il faut la suivre sachez le bien.
Refrain :
Entrez dans mon tango
Et je vous danserai
Les yeux à demi-clos
Perdus, au milieu des reflets
De la musique qui nous emmène...
Quand les violons
racontent leur peine.
Nos doigts emmêlés l'un à l'autre
Com-me les pétales d'une fleur
Vous prouverons que je suis vôtre
Et que vous m'êtes proche du cœur...
Je vous dirai, en espagnol,
Les mots d'amour que je connais
Et nous verrons bien qui s'affole
Le premier des deux sous l'effet...
(refrain)
Je te tutoie, nous avons l'âge
De nous dire "tu" sans se connaître
Et puisque le tango t'engage
Pour toujours à me reconnaître...
Autant ne pas faire de manière
Et nous mettre à nous embrasser
Puisqu'on a baissé les lumières
Pour ne pas nous intimider...
Entre dans mon amour
Je t'argentinerai
Jusqu'au lever du jour
Pour voir, le pays qui te plait
Le tango seul est responsable...
De ce beau voyage inoubliable
Les autres ont d'étranges questions
Ne les écoute surtout pas
Tous les prétextes leurs sont bons
Pour te faire déboîter le pas...
De cette érotique cadence
Que va-t-il nous rester plus tard ?
Je sais où le tango commence
Où finit-il dans cette histoire...
De ce tango presqu'argentin.
@germann6431
Un tango argentino. Ok
@rogerhonore
Written-By – C. Bolling, J.-M. Rivière 1963