Una donna come me

To get it out of the way, I never believed that Roger Vadim created BB or vice versa. They were both products of a film era that needed urgently some sexual awakening with the difference that he was a not-so-hot writer-director while she was a force of nature waiting to unleash her power. And boy did she do it!

Almost two decades after "Et Dieu... créa la femme" (1956) and after trying for years to replicate its success with BB stand-ins (Jane Fonda, Annette Stroyberg, Rebecca De Mornay, etc.) Vadim reunited with Bardot for what must have seemed (to them) a terrific idea: BB, the eternal seducer as Don Juan, the seducer par excellence. BB playing a stud? Not on your life! Her part is of a female seducer who thinks she was Don Juan on a previous incarnation. Really.

I think all this Don Juan business is just an excuse to show some hanky panky between Bardot and Birkin since lesbian love scenes were very popular in the early 70s and Vadim gracefully obliged. After all, if he wanted to presume of remaining a cinema transgresseur, showing BB in a lesbian situation is not such a bad idea. However by 1973 Bardot was no longer BB, that half a child, half a woman that conquered the world. Mind you, her charm and personality was still there but her face showed the puffiness and lines of middle age in spite of being shot through filters and special lightning.

Maybe the Don Juan concept could have worked better ten or fifteen years before but, if you are a Bardot follower, you know she did something very similar in Julien Duvivier´s "La femme et le pantin" (1959) filmed in Spain. I say "similar" because the story, although based on a novel by Pierre Louÿs, owes a lot to Prosper Mérimée' s "Carmen", that gypsy dame who plays with men' s emotions, a part that seem designed for BB who was then at the top of her powers as the ultimate seductress. Who is Carmen but a female version of Don Juan?

In short this is a not-so-good-film that must be seen for several reasons. First of all because it marked the end of Bardot' s film career (she did another film in 1973 and that was it), also for the presence of two actors that are also true cinema legends, Maurice Ronet and Robert Hossein (both deserve better). Last but not least, some praise must go to the Eastmancolor cinematography by veteran cameraman Henri Decaë. The rest you can throw away, Vadim et all.

Ms don juan (in the us ) aka don juan ou si don juan était une femme. Brigitte bardot had been married to roger vadim, the director of this film, back in the 1950s. Jeanne seems to really get off on bragging about her exploits over men, with the priest (mathieu carrière). We see her deeds in flashback, as she recounts her evil ways. Lots of sad, mournful, wailing music. The film itself is long, and just okay. But it's fun to see some of these big names way back when! Some fun scenery from paris in the 1970s. Some blood and guts. Co-stars jane birkin, who had the birkin bags named for her! And robert walker junior. Vadim also co-wrote the screenplay for barbarella and plucking the daisy. These are all shown on turner classics and other channels now and then.

Or if Don Juan Were A Woman In Modern Paris, if you would, and played by Brigitte Bardot, for her ex-husband Roger Vadim. I am uncertain what, if anything, Vadim was attempting to say; the mythical womanizer does not seem to gain anything by making him a woman, except for making the point that women have sexual appetites too. By the time this came out, Vadim's saucy and risque attitudes, which had been revolutionary in the 1950s, had become commonplace, even a bit dated. The only remaining point is that women could be sexual predators, just as much as men. To which I say: okay.

Vadim uses a slightly bleached color pallette for this movie, indicating to me that there is a limit to the pleasures of the body. Everything palls, after a while, and satiety does not satisfy. Or perhaps I am just an old man whose understanding of the legend is a little too secure.

One of the best film of Vadim and Bardot. Brigitte Bardot is amazing as always, and the plot is very interesting and touching . If you love French melodramas you should watch this one

Some reviewers seem not to notice the golden irony that BB, who was ready to quit acting without needing a swansong, chose a vehicle, the value of which she could not fail to comprehend, in which men commit suicide after making love to BB. She is natural and resigned to the penultimate finale of her career. Maurice Ronet acquits himself perfectly as the torn antihero. He is the perfect foil to her underplayed and subtle excesses. This film didn't need any association with Don Juan to work more than adequately on several levels. Not only does it excel in irony but also in theatrical sarcasm with the 'God created woman' embroiled in a hellish inferno in a finale of post-modern design, her nemesis entombed in what might be an analogy for shifting sands. I feel that, in life, she was always lost, this belief reinforced when we exchanged pleasantries in Cannes in 1969.