Movie actress and French singer born on September 28, 1934 in Paris. His real name is Camille Javal.
Member of a privileged family of French bourgeoisie, had no problem tipping from early in the career. Before making contact with the film he did ballet, although not noted as a dancer; However, its use as a young advertising model in fashion magazines (where if he was noted for her great beauty) made him decide to make the leap to film. Although his early films were light comedies, such as Le Trou normand (1952), Manina, the fille sans voile (1952) and Les Dents longues (1952), his participation did not go unnoticed; at just eighteen years she was already famous in the Gallic country, and his face and his splendid figure made her the authentic sex symbol of the 1950s in France.
He continued his film career as a supporting actress in all sorts of roles. He shared the poster with stars of the likes of Colbert, Jean Pierre Aumont and Jean Marais, on the orders of Sacha Guitry, if Versailles could speak (1954); It was Helen of Troy (1955), in the film by Robert Wise; and participated in a great movie, considered cult for the majority of the French film critics, large maneuvers of love (1955), by René Clair.
However, 1956 would be the year in which "BB", as it was already known from then on, would give the final step that would elevate him to international stardom, especially thanks to the film who ran her own husband, Roger Vadim, who was not another you and God... the woman created. For sure, physical explosive the actress was not the only trigger for the resounding success of the film; in fact, had much of "culpa" censorship, which cut some scenes of the tape caused that creation is even more excitement if fits in the rooms where projected (especially famous is the scene in which the Bardot is making love on the beach with Christian Marquand). In short, although the work of direction was not all bright that one would expect from a film that has gone down in history of world filmography, and although even the performance of Bardot (a character which seemed too to herself, and that did not require, therefore, too many interpretive efforts) was not also not particularly notable, which no doubt is that spectators were attending the birth of a myth.
In 1960, the Nouvelle vague had taken power in French cinema, and Brigitte Bardot represented, on the other hand, sexual freedom, immorality, modern eroticism. The participation of the actress in in case of misfortune (1958), by Claude Autant-Lara, based on a novel by Simenon, meant its recognition as dramatic actress, endorsed by the paper that he offered by Henri-Georges Clouzot, author away from the Nouvelle vague, in its judicial drama the truth (1960), which draws the portrait of a fragile young, socially drift and victim of appearances. Clouzot was a hard director that demanded much of the actors, and the Bardot even was the victim of a nervous breakdown during filming; However, their interpretation was certainly hailed, and from that moment began to be taken seriously as a dramatic actress, what took away you from being pigeonholed as a sex symbol than as a good actress.
A few years later, after working with the most important directors of French cinema (with Louis Malle, for example, in private life, in 1962), will be his best film, best interpretation, and probably its most charismatic appearance: French contempt (1963), of Jean-Luc Godard, who at that time was considered the enfant terrible of Nouvelle vague. Aside that the emergence of the Bardot was from by Yes enough incentive to give consistency to the film, cast mates were in a splendid interpretative moment: director Fritz Lang, it was literally taken out of retirement and that he participated as an actor playing himself; Jack Palance, in the considered by many the best role of his career; and Michel Piccoli at the beginning of his stardom. The dramatic intensity of the film, the work of the actors and the interest that the director himself put into a work that endure over time, resulted in what many regard as the first and only masterpiece of the young French director. The Bardot, in the film, responded to his name, Camille Javal, which further intensified the drama of its interpretation.
At that then Brigitte already had married twice, first with the mentioned Vadim, whom he divorced in 1957, and later with Jacques Charrier, whom he divorced in 1962, both linked to the world of cinema. On the other hand, their incomes in those moments had multiplied dramatically. When he was already an accomplished star of French cinema, participated alongside Jeanne Moreau in the comedy Viva María!, of Louis Malle. The filming of this generated unusual interest not only specialized press, but also for the press of the heart; not in vain, the fact of bringing together the two actresses more famous and coveted of France and make them participate in a parodic western woke up all kinds of speculations about possible friction between the two divas. Thus, hundreds of journalists and photographers thronged systematically in the dishes in search of any photograph that showed that possible friction. The project went ahead, however, and there was no special problems between the two; in fact, for the Moreau was one of the great successes of his career.
He was repeating pull Viva María! six years later, in the oil (1971), Christian-Jacque, but were missing the Moreau and Malle, and the show, despite the presence of Bardot and Claudia Cardinale, not went from mediocre. Before he went to the call of Louis Malle to participate in extraordinary stories (1968), also directed by Vadim and Fellini, and based on stories by Edgar Allan Poe.
The quality of the films in which intervened began to decline, so that the intensity of his appearances ran the same fate. After the resounding failure which was his last film, l'Histoire très bonne et très joyeuse de Colinot Trousse-chemise (1973), Brigitte Bardot abandoned cinema in 1973, still with the aura of diva and when only had a splendid 39 years. From this date began to devote himself to his true passion: animals; so he created the Brigitte Bardot Foundation, in defence of these rights. Except for occasional appearances on television has not returned to the world of interpretation.
1952: Le trou normand; Manina, the fille sans voile; Les dents longues.1953: Le portrait de son pere.1954: Act of Love; Betrayed; If Versailles could talk; Le fils de Caroline Chérie; Futures vedettes.1955: Helen of Troy; A doctor in the Navy; The great intrigues of love; Frou-frou; The light in front; ESA pícara colegiala.1956: my son Nero; Removing the margarita; The B.B. small; And God created... the mujer.1957: A parisina.1958: Les bijoutiers du clair de lune; In the case of desgracia.1959: the woman and the puppet; Babette goes to war; You want to you dance with me? 1960: The truth; The testament of Orpheus; L 'affaire d' une nuit (not accredited). 1961: to rein suelta.1962: private life; Attract love; Le repos du guerrier.1963: contempt; Tentazioni proibite.1964: Adorable idiot; Témoignage sur Bardot-Godard/Le parti des choses.1965: Viva María!; Dear Brigitte.1966: Marie-Soleil (uncredited cameo); Masculin-féminin. 1967: Coeur joie.1968: extraordinary stories (one episode); Shalako.1969: The mujeres.1970: the wrist and the gross; The novicias.1971: the bulevard of rum; The petroleras.1973: if don Juan were a woman; L'Histoire très bonne et très joyeuse de Colinot Trousse-chemise.
1961: Attract love.
1972: Film Portrait