".....but
the devil created Brigitte Bardot."
That tag line pretty well sums up the general attitude toward
the character of Juliette, played by Brigitte Bardot, in
the 1956 sensation And God Created Woman. The
story contains a peculiar mixture of (for its time) radical
feminism and good old fashioned sexism. Only in the
1950`s could a movie try to have it both ways and get away
with it without too many jeers from the establishment.
Buy
And God Created Woman [1987] at Amazon!
Bardot
plays a troubled 18-year old. That is to say, troubled
to the eyes of everyone else in the small fishing village
in which she lives. She dresses in sexy clothes, or
occasionally nothing at all, at least in her famous first
appearance. She is immensely bored at her
job at a newsstand (who wouldn't??). And at least a
couple of guys notice that she is one hot dame. So of
course she spells nothing but trouble. Even the home
where she lives in doesn't respect her, as the old couple
threaten to return her to the orphanage if she doesn't shapen
up. I, for one, thought that was a terribly cruel thing
to seriously propose, considering that many kids have done
worse without being put away. And when a couple
of brothers from a fishing family try to save her from that
horrible place by getting her to marry one of them, there
was no offense taking by me when she jumped at the chance.
Besides
the man, Michel, who eventually marries her, there are also
a few other men ensnared in Bardot`s web. Michel`s older
brother, Antoine, is a successful individual who poses a more
macho, aggressive threat to Bardot, than the mild-mannered
husband. There is also a rich businessman, Carradine,
who tries to buy the property Bardot`s new family lives on,
so he can build a casino. Carradine is the one who witnesses
Bardot in the nude, but, unlike the other men in the film,
he is not so much in lust but in amusement at this woman.
With age comes refinement, so he doesn`t attempt to stifle
any of Bardot`s plans.
I could smell the stench of women-hating from a mile away.
Much of that stench came from one particular skunk, the character
of Antoine, who manages to infect everyone else in the cast.
Antoine is this stupid idiot, who seems to have a thing for
Bardot, and actually is on a date with her when they plan
to meet somewhere else. The fact he's quite smitten
with Bardot is all right by me, but then he proceeds
to show off his true, macho colors in a painful moment when
Bardot overhears him talking to another guy in the washroom
about what sort of treatment she deserves. He says she's
the type of woman you can only have one-night-stands with,
for she'd only forget about you anyway. There is a nice
long shot of Bardot`s gradual reaction to this speech, and
she rightfully rebuffs him. But Antoine is a predator,
and even when Bardot is married to his brother, he still lusts
after her. His attitude, however, seems to be that he
cannot help these animal desires, and so does his best to
have his way with her, while still of the belief she is nothing
but worthless trash.
The
end of the movie is just plain bizarre. Without revealing
everything, let me just say I lost all my respect for Michel
with his final act. It seemed that he was the only sensible
person in the movie, and then he does this, out of
the blue. And the final dialogue between Carradine and
Antoine is akin to an older man attempting to warn of the
evil of the world to the youth of the world. Antoine
even asks him why is he "playing Father Christmas", as if
it's a gift to be given the ability to treat a woman like
crap.
But
what was she doing wrong????????? Other than that
little indiscretion with Antoine, which seemed more like a
way to create a finale, all she is doing is acting like a
free spirit. If she were living in the 1990`s, she'd
be considered bland. She'd be breaking the rules if
she weren't doing the things she is doing in this movie.
It's not as if Bardot was even fooling around with anyone,
and there's no doubt in my mind Michel is her first actual
lover (not that this should matter). But, then again,
she is living in a fishing town, which is undoubtedly
populated with the redneck and anal variety. Such constant
suspicion will make a girl unhappy, and we can tell.
No wonder she tries her best to have the little happiness
she can receive. In a way, this can become a depressing
film. Someone who merely wants to have a fun-filled,
socialite kind of life is constantly abused, insulted, and
degraded for it.
Shooting the film in Cinemascope, the preferred classical
method of grandiose visions everywhere, was a fine idea.
I was under the assumption this picture was just an old, black
and white feature until I actually began to watch it, but,
upon reflection, the style is completely appropriate.
A movie like this is meant to be big, colorful and sleazy
in a romantic sort of way. And it is meant to show off
Bardot`s attributes, which are plenty. While someone
like David Lean actually went out to the desert and the jungle
to visualize his visions in the best way possible, director
Roger Vadim essentially produced a dirty old man's version
of Cinemascope grandeur by picking the best dame he could
find, and saying to myself "I've found my muse."
That
said, Bardot does get some good lines, which are amazingly
sensible considering the ultimate attitude toward her character.
I don't think I could forget a few of those lines, including
one where she tells off an old prude "I didn't think love
was a disease. But then you have no fear of catching
it, you've already been vaccinated." If only more people
could have that wit, when the rednecks and the uptight of
the world get all in a fuss over some woman's flirting.
Even in these enlightened nineties, not everyone can let the
girls have their fun in peace.
David
Macdonald
David
Macdonald's Movie Reviews
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