Brigitte Bardot

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First Gerard Depardieu, Now Brigitte Bardot Threatens To Adopt Russian Nationality


Gerard Depardieu Brigitte Bardot

It looks as though the French have started queuing up behind Gerard Depardieu, in a desperate attempt to gain a Russian passport. Well, one of them has, anyway. Brigitte Bardot has also threatened to ask Russia if she can become one of their own, but not because of tax hikes, this time. Bardot’s problem isn’t a financial one at all; rather, a case of animal welfare. The screen legend has threatened to give up her French citizenship unless a decision to put down circus elephants suspected of carrying turberculosis is overturned, Reuters reports.

The elephants, named Nepal and Baby, are owned by a circus and a court in Lyon ordered for them to be put down as a precautionary measure. Bardot has become renowned for her work in animal rights campaigning and she said in a statement “If those in power are cowardly and impudent enough to kill the elephants... then I have decided I will ask for Russian nationality to get out of this country which has become nothing more than an animal cemetery.” The circus owners, Cirque Pinder also said today (January 4, 2013) that they will fight the decision to end the animals’ lives. The animals tested positive for TB in 2010 but have ben kept in a zoo in Lyon, away from the general public.

Gerard Depardieu is reported to be accepting the offer of a Russian passport from the Russian leader Vladimir Putin. He is denouncing his home country of France after their plans to impose a 75% tax on its wealthiest citizens.

A Very Private Affair Review


Weak
In A Very Private Affair, Brigitte Bardot gets to basically play herself, an overacting, overstacked blonde goddess who just can't take it any more when the pressures of celebrity get to her. Her performance is just short of a tragedy, and the plot is saccharine, asking us to feel sorry for the plight of her movie starlet when the paparazzi flock to her country place after word surfaces about her "very private" affair with an older man. When press light a bonfire in your yard to keep warm and helicopters hover right over your roof, sure, you should get upset. But in that case reality will have dissolved completely, so why worry?

Continue reading: A Very Private Affair Review

Contempt Review


Excellent
Contempt (or Le Mépris, for you purists out there), directed by Jean-Luc Godard in 1963, is a superlative film about many things, including the making of a film, the break-up of a married couple, and the parallels between the contemporary New Wave world (of 1963) and the classical (Old Wave) world of Homer. The basic story, based on novel by Alberto Moravia, is this: Director Fritz Lang (playing himself) is in the process of directing a film version of Homer's Odyssey. Lang has already shot some scenes, but his boorish film producer Jeremy Prokosch (Jack Palance) is upset with the results so he has fired most of the crew and hired a playwright named Paul (Michel Piccoli) to do some rewrites. Paul arrives in Rome with his beautiful wife Camille (Brigette Bardot) and over the course of a couple of days - in which they travel to Capri - everything goes wrong for Paul, who loses Camille to Prokosch and who decides that rewriting the Odyssey is too big a task considering that his own life has taken a heartbreaking turn. Contempt, however, is not a movie about making a movie as much as it is a movie about a disintegrating relationship. The center piece scene is a 30 minute passive/aggressive marital fight between Paul and Camille that takes place in a small apartment. The scene is a very economical piece of filmmaking that unfolds in real time. On first viewing this scene can be maddening because it doesn't seem to go anywhere, and it's difficult to figure out what Camille and Paul are fighting about. Their grief seems to come from someplace else. And maybe there is a past we don't understand, but what Godard is presenting us with is a failed relationship in the modern world: One where gallantry, romanticism and, more importantly, communication have failed. On the surface the film also shows how difficult it is for an art house director to get a film made with a Hollywood film producer: especially if the film is based on such a classic as Homer's Odyssey. Jack Palance gives a very funny performance as the egomaniacal film producer who can only see profit in the venture. He also gets a few humorous lines: When Lang comments on a Greek story, Palance reaches into his coat pocket and says, "When I hear the word culture I get out my checkbook." There is an irony also to Palance's character because it was well known at the time that Godard was having trouble with the film's real producers: Carlo Ponti and Joseph Levine. They insisted that Godard include a nude scene with Bardot so he went back and shot a scene with color filters in which she talks to her husband in the nude. It's a much more intellectual scene than a sexy one and, if anything, it clearly shows that Godard won the battle on that issue. Unlike almost all of Godard's film in the 1960s, Contempt is much more heartfelt than intellectually removed or self reflexive. No doubt, some of this can be attributed to Godard's split from his then wife Anna Karina, which had to have some kind of personal affect on him. But part of the reason too is because of Georges Delerue's distinctively melancholic score, which consists of two mood-setting pieces that are shuffled and repeated seemingly at will about 20 times throughout the film. Still the film does have some self reflexive moments. In many instances Godard comments upon many things in literature from Dante to romantic poetry and films that have influenced him like Roberto Rossellini's Voyage in Italy and Howard Hawks' Hatari!,as well as nods to his own films. Best of all is the gorgeous color Francscope (similar to CinemaScope) cinematography done in anamorphic 2.35:1 aspect ratio by the legendary D.P. Raoul Cotard and the slow burning pace, which is a desirable quality missing from cinema these days. The images are so seductive, in fact, that viewers may miss some of the complexity and issues about the classical versus the modern world. The Criterion Collection DVD is exemplary in all categories. There is an informative commentary track by film scholar Robert Stam and a second disc full of all kinds of goodies. The two best are a 53-minute conversation between Godard and Lang titled The Dinosaur and the Baby and a 10-minute interview with Godard in which he stands at a microphone with sunglasses on and tells an interviewer what he thinks of critics. There is also a short doc on the difficultly of dealing with Bardot's fame during the shoot, a short on Fritz Lang, and a recent interview with Raoul Coutard. There is also an enlightening five minute comparison between the inferior full-frame 1.33:1 transfer of the film (long available in video) versus the widescreen letterbox transfer, which mirror the director's true intentions. All in all this is a stunning DVD and is not-to-be-missed by any Godard fan; something we should all be by now.

Spirits Of The Dead Review


Very Good
A rare '60s oddity, Spirits of the Dead takes a weird premise and makes it even weirder. How weird? Try classic Edgar Allen Poe stories given a 1960s spin -- one that lambasts the whole free love/no morals movement the way that only the Frenchies could do. And stars some of the biggest stars of the era -- Fonda! Bardot! Delon! -- and is told in three short pieces, courtesy of three big-time directors -- Fellini! Malle! Vadim!

Roger Vadim takes his Barbarella star Jane Fonda through a very loose interpretation of "Metzengerstein," with Fonda as an aristocrat bored of the constant orgies and swift executions of her enemies. She ends up falling for her cousin, but when he rejects her, she burns down his stable, taking him along with it. Strangely, the cousin ends up possessing the spirit of a horse, which the countess ends up fascinated with anew. It's the weakest of the three shorts, but it's worth seeing if for no other reason than to see Barbarella trot out her French. (To be honest, that might be the only reason -- the story just doesn't make much of an impact.)

Continue reading: Spirits Of The Dead Review

Bardot Blasts China For Killing Civet Cats


Brigitte Bardot

French actress Brigitte Bardot has fired off a letter to China's president criticising the nation for killing civet cats in its fight against the SARS (severe acute respiratory syndrome) virus.

Animal-loving Bardot's letter to President HU JINTAO claims there's no scientific proof about which animal species first caught SARS and lashes out against China's "cruel and barbarous slaughtering methods".

Continue reading: Bardot Blasts China For Killing Civet Cats

Brigitte Bardot

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Brigitte Bardot

Date of birth

28th September, 1934

Occupation

Actor

Sex

Female

Height

1.70


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