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).
On Déménage
Brigitte Bardot Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ce soir, ce soir, on déménage tous les étages
On va commencer par déplacer le grand canapé blanc
On continuera par enlever tous les guéridons, vlan!
Attention! Mes doigts sont en danger
N'accroche pas le lustre du salon
Pousse encore et mets-toi de côté
Ce soir, ce soir, je te préviens on déménage
Ce soir, ce soir, on déménage tous les étages
Les doubles rideaux sont décrochés ils sont dans l'entrée, bon!
Ne perds pas ton temps à ne rien faire et à tourner en rond!
Les tapis sont en train de brûler
Je t'avais pourtant bien prévenu
Tant de fois d'arrêter de fumer
Ne dis pas non car je t'ai vu!
Ce soir, ce soir, je te préviens on déménage
Ce soir, ce soir, on déménage tous les étages
Quel est ce fracas dans la cuisine et d'où peut venir l'eau?
Qui jaillit partout en emportant le chat loin dans ses flots
Les voisins poussent des hurlements
La police et les pompiers sont là
On m'appelle de chez le président
Allô? Dites-moi comment ça va!
Ce soir, ce soir, je vous préviens on déménage
Ce soir, ce soir, on déménage tous les étages
Ce soir, ce soir, je vous préviens on déménage
Ce soir, ce soir, on déménage tous les étages
Ce soir, ce soir, je vous préviens on déménage
Ce soir, ce soir, on déménage tous les étages
In Brigitte Bardot's song "On Déménage," the lyrics describe a chaotic scene of moving furniture and household items from different floors all at once. The singer of the song is warning someone that they will be moving tonight, and that they need to prepare themselves by removing items like the big white sofa and tables, being careful of her fingers, and not breaking anything. As they move from room to room, they have to take down double curtains, be mindful of smoking near the carpets, and deal with water flooding the kitchen and taking the cat away. The occupants even attract the attention of the police and firefighters as the neighbors complain.
The song's lyrics may be interpreted as a metaphor for a relationship or personal change that requires lots of effort, messiness, and upheaval. Rather than settling in one place, the singer seems to be restless, always on the move, creating chaos as they go. The lyrics may also depict the idea of starting afresh, leaving everything behind and starting over. Through the imagery of moving all the furniture and household items, there could be an emphasis on leaving the past behind and starting afresh on a new journey.
Line by Line Meaning
Ce soir, ce soir, je te préviens on déménage
Tonight, tonight, I warn you we're moving
Ce soir, ce soir, on déménage tous les étages
Tonight, tonight, we're moving all the floors
On va commencer par déplacer le grand canapé blanc
We're starting by moving the big white couch
On continuera par enlever tous les guéridons, vlan!
We'll continue by removing all the little tables, bang!
Attention! Mes doigts sont en danger
Attention! My fingers are in danger
N'accroche pas le lustre du salon
Don't bump into the living room chandelier
Pousse encore et mets-toi de côté
Push some more and get out of the way
Presse-toi un peu, ça va c'est bon
Hurry up a bit, it's okay
Les doubles rideaux sont décrochés ils sont dans l'entrée, bon!
The double curtains are unhooked, they're in the entrance, okay!
Ne perds pas ton temps à ne rien faire et à tourner en rond!
Don't waste your time doing nothing and walking around!
Les tapis sont en train de brûler
The carpets are burning
Je t'avais pourtant bien prévenu
I had warned you so well
Tant de fois d'arrêter de fumer
So many times to quit smoking
Ne dis pas non car je t'ai vu!
Don't say no because I saw you!
Quel est ce fracas dans la cuisine et d'où peut venir l'eau?
What is this noise in the kitchen and where could the water come from?
Qui jaillit partout en emportant le chat loin dans ses flots
That gushes everywhere, taking the cat away in its flow
Les voisins poussent des hurlements
The neighbors are screaming
La police et les pompiers sont là
The police and firefighters are here
On m'appelle de chez le président
I'm getting a call from the president's place
Allô? Dites-moi comment ça va!
Hello? Tell me how it's going!
Ce soir, ce soir, je vous préviens on déménage
Tonight, tonight, I warn you we're moving
Ce soir, ce soir, on déménage tous les étages
Tonight, tonight, we're moving all the floors
Ce soir, ce soir, je vous préviens on déménage
Tonight, tonight, I warn you we're moving
Ce soir, ce soir, on déménage tous les étages
Tonight, tonight, we're moving all the floors
Ce soir, ce soir, je vous préviens on déménage
Tonight, tonight, I warn you we're moving
Ce soir, ce soir, on déménage tous les étages
Tonight, tonight, we're moving all the floors
Lyrics © Warner Chappell Music, Inc.
Written by: Gerard Robert Edouard Bourgeois, Jean Max Riviere
Lyrics Licensed & Provided by LyricFind
@gueguinnicole7422
C'est honteux il y a plus de respect aucun respect ce genre ou va ce monde laisser cette personne âgée vivre tranquillement bande de. Dégénère une femme au grand cœur respectueusement malheureusement la connerie c est contagieux