Brigitte Bardot (French pronunciation: bʁiʒit baʁdo) (born 28 September 193… Read Full Bio ↴Brigitte Bardot (French pronunciation: bʁiʒit baʁdo) (born 28 September 1934) is a French actress, former fashion model, singer and animal welfare/rights activist.
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).
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).
Moi Je Joue
Brigitte Bardot Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Moi je joue
Moi je joue à joue contre joue
Je veux jouer à joue contre vous
Mais vous, le voulez-vous?
De tout coeur
Je veux gagner ce coeur à coeur
Vous connaissez mon jeu par coeur
Alors défendez-vous
Sans tricher, je vous le promets
J'ai gagné, tant pis see'est bien fait
Vous êtes mon jouet
A présent, ce ne sera plus vous mais toi
Et tu feras ca t'apprendra
N'importe quoi pour moi
Sans m'en faire, je vais t'assurer
Un enfer de griffes et de crocs
Tu crieras bientot "Au secours"
Alors décidant de ton sort
Pour m'éviter quelques remords
Je t'aimerai plus fort
Oh oui plus fort
Oh oui oui oui, plus fort
Oh la la
Moi je joue à joue contre joue
Je veux jouer à joue contre vous
Mais vous, le voulez-vous?
De tout coeur
Je veux gagner ce coeur à coeur
Vous connaissez mon jeu par coeur
Alors défendez-vous
Sans tricher, je vous le promets
J'ai gagné, tant pis see'est bien fait
Vous êtes mon jouet
A présent, ce ne sera plus vous mais toi
Et tu feras ca t'apprendra
N'importe quoi pour moi
Sans m'en faire, je vais t'assurer
Un enfer de griffes et de crocs
Tu crieras bientot "Au secours"
Alors décidant de ton sort
Pour m'éviter quelques remords
Je t'aimerai plus fort
Oh oui plus fort
Oh oui oui oui, plus fort
Oh la la
The song Moi Je Joue by Brigitte Bardot talks about a playful romantic competition between two lovers. The singer enjoys playing cheek to cheek, face to face, and wants to play against the person they desire. The singer is determined to win their heart and challenging them to defend themselves against their game. The singer promises not to cheat, and if they win, so be it. The lover is now their toy, and the singer will make them suffer for losing. However, now it is already one person, and they will learn to do anything for their lover. The singer is confident that they will win by honest means and promises to love their lover even more intensely.
Line by Line Meaning
Moi je joue
I am playing
Moi je joue à joue contre joue
I play cheek to cheek
Je veux jouer à joue contre vous
I want to play cheek to cheek with you
Mais vous, le voulez-vous?
But do you want to?
De tout coeur
Wholeheartedly
Je veux gagner ce coeur à coeur
I want to win this heart to heart
Vous connaissez mon jeu par coeur
You know my game by heart
Alors défendez-vous
So defend yourselves
Sans tricher, je vous le promets
Without cheating, I promise you
J'ai gagné, tant pis see'est bien fait
I won, too bad that's how it goes
Vous êtes mon jouet
You are my toy
A présent, ce ne sera plus vous mais toi
Now it won't be you but you
Et tu feras ca t'apprendra
And you'll see what that teaches you
N'importe quoi pour moi
Anything for me
Sans m'en faire, je vais t'assurer
Without worrying, I'm going to assure you
Un enfer de griffes et de crocs
A hell of claws and teeth
Tu crieras bientot "Au secours"
You will soon cry "Help"
Alors décidant de ton sort
Then deciding your fate
Pour m'éviter quelques remords
To avoid some remorse
Je t'aimerai plus fort
I will love you more
Oh oui plus fort
Oh yes, more
Oh oui oui oui, plus fort
Oh yes, yes, yes, more
Oh la la
Oh la la
Lyrics © O/B/O APRA AMCOS
Written by: CONCETTA KIRSCHNER, ELIZABETH WOOLRIDGE GRANT, GERARD ROBERT EDOUAR BOURGEOIS, JEAN-MAX RIVIERE
Lyrics Licensed & Provided by LyricFind
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@najahabdelkader8455
I play
lyrics
I play
I play cheek to cheek
I want to play games against you
But do you want it?
With all my heart
I want to win this heart to heart
You know my game by heart
So fight back
Without cheating
I promise you
I won
Too bad it's well done
You are my toy
Now
It will no longer be you but you
And you will do, it will teach you
anything for me
Without worrying
I will assure you
A hell
Of claws and fangs
You'll be screaming soon
Help
So deciding your fate
To spare me some remorse
I would love you more
Oh yes, stronger
Yes, yes, yes, yes, stronger
Oh, louder
Yes, yes ah
Oh, louder, yeah
AIE Aie Aie
@jamesgoward5687
This is a relatively accurate translation from an American who lived in France for a bit and loves BB. The song is sort of about her having the upper hand is a relationship and overpowering the guy with her charms...
Me, I play
Me, I play cheek to cheek
I want to play games against you
But you, do you want to?
With all my heart
I want to win this heart to heart
You know my game by heart
So defend yourself (or “fight back!”)
No cheating, I promise
I won, too bad, it's well done (or more like "tough luck--it's over for you")
You are my toy
Now it won't be “you” but “you”
(NOTE: In French, “vous and “toi” both mean “you” but they reflect differences in relations between people. “Vous” is more formal and is used when speaking to people who you are not emotionally close to whereas “toi” would be used with a close friend, significant other etc. So in context, BB is saying she and the man will take things to the next level)
And you will do anything for me—it will teach you.
Without worrying, I will promise (to subject you to)
A hell of claws and fangs
You will soon be shouting, "Help!"
So while I am deciding what your fate will be
To spare myself remorse
I will love you more
Oh! Yes, stronger
Oh! Yes yes yes, stronger
Ah! stronger, yes, yes, yes
(NOTE: this sort of implies intercourse is happening )
It's not a word-for-word translation--I am trying convey the meaning of some idioms which I think makes the meaning clearer. Her song "Harley Davidson" also has some very charged lyrics! Even Google translate will give you a good idea of what she's singing about...
@asiabrown3436
Moi, je joue
Moi, je joue à joue contre joue
Je veux jouer à joue contre vous
Mais vous, le voulez-vous?
De tout cœur
Je veux gagner ce cœur à cœur
Vous connaissez mon jeu par cœur
Alors défendez-vous!
Sans tricher, je vous le promets
J'ai gagné, tant pis, c'est bien fait
Vous êtes mon jouet
À présent, ce ne sera plus vous mais toi
Et tu feras, ça t'apprendra
N'importe quoi pour moi
Sans m'en faire, je vais t'assurer
Un enfer de griffes et de crocs
Tu crieras bientôt: "Au secours!"
Alors décidant de ton sort
Pour m'éviter quelques remords
Je t'aimerai plus fort
Oh! Oui, plus fort
Oh! Oui oui oui, plus fort
Ah! plus fort, oui, oui, oui
@Misslotusification
@@liezelibanez7268
Me I play
Me I play ,
Me I play cheek-to-cheek
I want to play cheek against you
But you , do you want it ?
From all my heart
I want to win at this heart-to-heart
You know my game by heart
So defend yourself
Without cheating, I swear it to you
I won , too bad , you were asking for it
Sir, you are my toy
Now, it's no longer " Sir " but just " you "
& You will do, you were asking for it
Anything for me
Without worrying, I will assure you
A hell made of claws & fangs
You will soon yell " Help "
So, picking your lot
In order to avoid some remorses
I will love you stronger
Ow yes , stronger
Ow yes yes yes, stronger
Oh la la ..
@nizadrev9756
Sérieusement quel mec aurait pu lui résister? La beauté, le summum de la féminité, naturelle et une belle âme! Personne ne l'a encore égalé..personne!
@jobonjour1359
La plus grande star un mythe inégalable ❤❤❤
@jeanluccollin1699
Brigitte Bardot représente et représentera toujours notre France
@sylviekruzik3864
La plus belle
Tellement contente d'avoir travaillé dans sa fondation
@sandrineLully
Quelle chance. Je vous envie.
@sylviekruzik3864
Vous pouvez postuler ou être bénévole
@kazilikuyo5426
Qui l’a France 🇫🇷 dit Brigitte Bardot cette femme a fait aimer 🧡 la France au monde entier. Nous t’aimons 🧡Brigitte tu est magnifique à jamais.
@raulacevedo5158
De acuerdo colombia ❤️ ama a bridge bardott
@patrickswiercz1729
Juste, la légèreté de la chanson, en ces temps où tout le monde s'imagine important, et bravo pour la langue française
@peterchambers2553
The song, performer and video are beautifully iconic in every way.