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).
Ne Me Laisse Pas L'Aimer
Brigitte Bardot Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Pourtant c'est lui que tu veux
Ne me laisse pas l'aimer
Et tu m'oublies peu à peu
Ne me laisse pas l'aimer
Je sais qu'un jour viendra, tu tomberas dans ses bras !
Ne me laisse pas l'aimer
Ne me laisse pas l'aimer
Mais tu l'aimes déjà
Ne me laisse pas l'aimer
Un jour, il fera mouche, tu tomberas sur sa bouche !
Tu ne peux pas résister
Quand il vient te parler
Je vois tes yeux
Qui s'accrochent à ses yeux
Non, tu ne peux pas résister
Il sait que c'est plus fort que toi
Et comme il te veut
Un jour, il t'aura
Ne me laisse pas l'aimer
Mais tu te prends à son jeu
Ne me laisse pas l'aimer
Il est bien trop dangereux
Ne me laisse pas l'aimer
Oh non, tu ne vois pas comme il s'amuse de toi !
Ne me laisse pas l'aimer
Il ne faut plus le revoir
Ne me laisse pas l'aimer
Il fera ton désespoir
Ne me laisse pas l'aimer
Jamais, oh non jamais, ne le revois plus jamais !
Ne me laisse pas l'aimer
Il ne faut plus le revoir
The lyrics of Brigitte Bardot's "Ne Me Laisse Pas L'Aimer" or "Don't Let Me Love Him" in English is a song about a love triangle wherein the singer pleads with her lover not to let her fall in love with another man who is evidently loved by her lover as well. She implores her lover to forget about the other man, but it is already too late as they are already entangled in their feelings for him, and it is only a matter of time before he wins her over completely. The singer expresses her frustration as she watches her lover fall for the other man's charm and how he manipulates her feelings to the point of no return. She makes a desperate plea in the end for her lover to cut all ties with the other man before it's too late to save their relationship.
The song brings out the complexity of love triangles and how it can tear relationships apart. It paints a picture of how people can be caught in situations where they don't have control over their feelings, and in the process, hurt the people they love. The lyrics are poignant and emotional, resonating with people who have been in similar situations where they struggled to make choices that could affect their future.
Line by Line Meaning
Ne me laisse pas l'aimer
Don't let me love him
Pourtant c'est lui que tu veux
Yet he's the one you want
Et tu m'oublies peu à peu
And you forget about me little by little
Je sais qu'un jour viendra, tu tomberas dans ses bras !
I know that one day you'll fall into his arms!
Mais il est déjà trop tard
But it's already too late
Mais tu l'aimes déjà
But you already love him
Un jour, il fera mouche, tu tomberas sur sa bouche !
One day, he'll hit the mark and you'll fall for his kiss!
Tu ne peux pas résister
You can't resist
Quand il vient te parler
When he comes to talk to you
Je vois tes yeux
I see your eyes
Qui s'accrochent à ses yeux
That cling to his eyes
Il sait que c'est plus fort que toi
He knows that it's stronger than you
Et comme il te veut
And as he wants you
Un jour, il t'aura
One day, he'll have you
Il est bien trop dangereux
He is far too dangerous
Oh non, tu ne vois pas comme il s'amuse de toi !
Oh no, you don't see how he's playing with you!
Il ne faut plus le revoir
We must not see him again
Il fera ton désespoir
He'll make you despair
Jamais, oh non jamais, ne le revois plus jamais !
Never, oh no never, see him again!
Lyrics © Peermusic Publishing
Written by: FRANCIS FUMIERE, JEAN MICHEL RIVAT
Lyrics Licensed & Provided by LyricFind
@nelmyrmonteiro8257
Ne me laisse pas l'aimer
- Pourtant c'est lui que tu veux
Ne me laisse pas l'aimer
- Et tu m'oublies peu à peu
Ne me laisse pas l'aimer
- Je sais qu'un jour viendra, tu tomberas dans ses bras !
Ne me laisse pas l'aimer
- Mais il est déjà trop tard
Ne me laisse pas l'aimer
- Mais tu l'aimes déjà
Ne me laisse pas l'aimer
- Un jour, il fera mouche, tu tomberas sur sa bouche !
Tu ne peux pas résister
Quand il vient te parler
Je vois tes yeux
Qui s'accrochent à ses yeux
Non, tu ne peux pas résister
Il sait que c'est plus fort que toi
Et comme il te veut
Un jour, il t'aura
Ne me laisse pas l'aimer
- Mais tu te prends à son jeu
Ne me laisse pas l'aimer
- Il est bien trop dangereux
Ne me laisse pas l'aimer
- Oh non, tu ne vois pas comme il s'amuse de toi !
Ne me laisse pas l'aimer
- Il ne faut plus le revoir
Ne me laisse pas l'aimer
- Il fera ton désespoir
Ne me laisse pas l'aimer
- Jamais, oh non jamais, ne le revois plus jamais !
Ne me laisse pas l'aimer
- Il ne faut plus le revoir
@alanviking1980
J'ai eu un très grand plaisir à la prendre en photo dans les années 70, elle à été très gentille avec moi.
@pasdailleurs
Quelle belle époque, retour vers...le passé en Delorean. Merci BB j'étais trop jeune à l'époque dommage.
@phus2001
Outstanding !!!! Soooooo beautiful! Great vibe!
@kellycoco33
One of a kind... We love you Brigitte!
@nelmyrmonteiro8257
Ne me laisse pas l'aimer
- Pourtant c'est lui que tu veux
Ne me laisse pas l'aimer
- Et tu m'oublies peu à peu
Ne me laisse pas l'aimer
- Je sais qu'un jour viendra, tu tomberas dans ses bras !
Ne me laisse pas l'aimer
- Mais il est déjà trop tard
Ne me laisse pas l'aimer
- Mais tu l'aimes déjà
Ne me laisse pas l'aimer
- Un jour, il fera mouche, tu tomberas sur sa bouche !
Tu ne peux pas résister
Quand il vient te parler
Je vois tes yeux
Qui s'accrochent à ses yeux
Non, tu ne peux pas résister
Il sait que c'est plus fort que toi
Et comme il te veut
Un jour, il t'aura
Ne me laisse pas l'aimer
- Mais tu te prends à son jeu
Ne me laisse pas l'aimer
- Il est bien trop dangereux
Ne me laisse pas l'aimer
- Oh non, tu ne vois pas comme il s'amuse de toi !
Ne me laisse pas l'aimer
- Il ne faut plus le revoir
Ne me laisse pas l'aimer
- Il fera ton désespoir
Ne me laisse pas l'aimer
- Jamais, oh non jamais, ne le revois plus jamais !
Ne me laisse pas l'aimer
- Il ne faut plus le revoir
@steffischolz7003
merci <3
@francoispoumarat3522
Quel canon 😊
Ca remet en place😊
@mattleinhauser9166
This woman was so drop dead gorgeous. Absolutely love her ❤❤❤❤
@starnight6134
Irresistible Brigitte Bardot!
Brigitte... French goddess
Marilyn... American goddess
@iconslegends5230
B.B. e la sua voce... che meraviglia !!!