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  • Brigitte Bardot Remembered: In ‘And God Created Woman’ and ‘Contempt,’ She Projected a Bold New Image of Feminine Identity and Erotic Power

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    It has always been easy to trivialize Brigitte Bardot. In 1957, starring in the movie that made her a global sensation, “And God Created Woman,” what she did was not widely regarded as accomplished screen acting — or, in a certain way, as acting at all. The movie treated her as a ripe object of erotic fixation, and that’s just what she was called upon to play. She is introduced with shots of her bare feet arched just so, her body lying naked, face down on the ground. “Sex kitten.” “Baby doll.” “Teenage temptress.” At the time, she was branded all those things. Was the movie a sober French drama or soft-core porn? It was marketed as something in between.

    Yet there was more at stake. And part of it is that Bardot, who died Sunday at 91, made no less a figure than Marilyn Monroe seem a sex symbol from an entirely different era. Monroe, while a huge star, still had one arched foot in the straitlaced past; Bardot was the woman-child of the world to come — the brazen girl who already embodied and anticipated the spirit of the swinging ’60s.  

    In “And God Created Woman,” she’s frisky, she’s sultry, she’s angry, she’s spectacularly uninhibited, and she signifies a new kind of erotic abandon that is liberated from the old strictures of the femme fatale. Her character, Juliette, is not a gold-digger; she rejects the advances of the rich men who come on to her. She simply does what she wants to do. “All the future does is spoil the present,” she tells a potential new lover. Yet when she learns, a bit later, that his proclamations of love are for the birds — that he doesn’t want a future with her, just a fling ­— the wounded smolder on her face becomes the ripest thing about her. At the climax, doing a dance of abandonment to the music of a hot Caribbean band, you see her literally spinning out of the control of the men around her.

    A word about the Bardot pout. It’s sexy as hell, but it’s a pout of steel. It has resolve. Which is why it’s so sexy. There was as much power in that pout as there was in Barbara Stanwyck’s snarl or Rita Hayworth’s come-hither glare. Maybe more. Because it’s as if Bardot had absorbed the temptation vibrations of all the screen goddesses who had come before her and was standing on their shoulders, reaching for something more…real.  

    Two years after “And God Created Woman” came out, becoming the top-grossing foreign-language film of all time in the United States, the great French philosopher Simone de Beauvoir wrote of Bardot, “Her clothes are not fetishes, and when she strips she is not unveiling a mystery. She is showing her body, neither more nor less, and that body rarely settles into a state of immobility. She walks, she dances, she moves about. Her eroticism is not magical, but aggressive. In the game of love, she is as much a hunter as she is a prey. The male is an object to her, just as she is to him.”

    The title “And God Created Woman” sounds grandiose, but what it meant is: God had now created a new kind of woman. A woman who’s effortlessly confident and coveted, who’s the quintessence (to quote Jim Morrison) of a 20th century fox, and one who will not be the victim of the gazes of the men who surround her. When Juliette, to avoid being sent back to the orphanage she came from, agrees to marry the nice, sweet, dorky Michel (Jean-Louis Trintignant), a priest warns him, “That girl is like an animal. She needs to be tamed.” But actually, there’s no taming what Bardot had: a casual freedom that was there in the way she held her body, and in every glance she gave.

    If she was triumphantly brazen in “And God Created Woman,” in Jean-Luc Godard’s “Contempt” (1963) she broke the law of every film ever made about love. In movies, love and romance are the most powerful of religions, and when relationships fall apart it’s for all kinds of reasons. They break down, crack up, go bust. But in “Contempt,” Bardot plays Camille, the wife of a playwright (Michel Piccoli) who’s hired to rewrite the script for a film version of “The Odyssey,” and when the fire goes out of their marriage, it’s not for some tidy dramatic explanation. It’s because…she has decided…that the fire is gone…just because. Because in the newly modern world, where women are no longer under the thumb of men, their feelings might change, and the reasons for that might be…inaccessible to the man left holding the bag of their now-empty union.

    The way Bardot plays this, uttering the word “contempt” (the feeling she now has for her husband) as a wall made of stone, she exudes a tragic matter-of-factness that resides on the other side of cruelty. It is cruel, but not because she’s cruel. It’s that life is cruel. And her beauty, in cinematic terms, is part of the cruelty; it’s part of what she will now withhold. Bardot portrayed all of this, in 1963, with what could be called the consciousness of the new woman. A new awareness of choice, and of how the old rules holding the world together no longer applied.

    Discussing “Contempt,” male critics tend to get fixated on the film-industry woes of Piccoli’s screenwriter (a Godard surrogate), and the world-weary travails of the director Fritz Lang (playing himself). But the heart of the movie is the half-hour-long sequence in which Bardot and Piccoli wander around their apartment in Rome, having the kind of fight that sounds less like a movie fight and more like a real fight than almost any scene in movies you could name. The sequence suggests that if Godard hadn’t decided to go the route of being an allusive postmodern brainiac creator of prankster-troll cinematic puzzles-that-never-quite-fit-together, he could have been an extraordinary poet of emotional naturalism. And the coldly beating heart of the film, which is arguably Godard’s greatest, is Brigitte Bardot’s performance.      

    Looking back and watching Bardot’s movies now, you see hints and echoes of so many of the actresses who would come after her, from Maria Schneider to Nancy Allen to Dominique Sanda to Uma Thurman to Adèle Exarchopoulos to Sydney Sweeney. She was marketed as a pin-up, yet she was a singular presence who forged a path of sensual and spiritual fearlessness. And part of it is that she insisted, just as the Madonna of the ’80s and ’90s did, that for a certain kind of performer (her kind), sexuality was inseparable from artistry. Bardot’s eroticized projection of female identity was itself a transcendent performance. If God created woman, Bardot made you feel like she had created herself. Only time will tell if the future is female. But once she’d made her mark, the future was most definitely Bardot.

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    Owen Gleiberman

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  • Brigitte Bardot, 1960s film icon turned animal rights activist, dies at 91

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    Brigitte Bardot, the French 1960s sex symbol who became one of the greatest screen sirens of the 20th century and later an animal rights activist, has died. She was 91.Bruno Jacquelin, of the Brigitte Bardot Foundation for the protection of animals, told The Associated Press that she died Sunday at her home in southern France, and would not provide a cause of death. He said no arrangements have yet been made for funeral or memorial services. She had been hospitalized last month.Bardot became an international celebrity as a sexualized teen bride in the 1956 movie “And God Created Woman.” Directed by her then-husband, Roger Vadim, it triggered a scandal with scenes of the long-legged beauty dancing on tables naked.At the height of a cinema career that spanned some 28 films and three marriages, Bardot came to symbolize a nation bursting out of bourgeois respectability. Her tousled, blonde hair, figure and pouty irreverence made her one of France’s best-known stars.Such was her widespread appeal that in 1969 her features were chosen to be the model for “Marianne,” the national emblem of France and the official Gallic seal. Bardot’s face appeared on statues, postage stamps and even on coins.‘’We are mourning a legend,” French President Emmanuel Macron wrote Sunday on X.Bardot’s second career as an animal rights activist was equally sensational. She traveled to the Arctic to blow the whistle on the slaughter of baby seals; she condemned the use of animals in laboratory experiments; and she opposed sending monkeys into space.”Man is an insatiable predator,” Bardot told The Associated Press on her 73rd birthday, in 2007. “I don’t care about my past glory. That means nothing in the face of an animal that suffers, since it has no power, no words to defend itself.”Her activism earned her compatriots’ respect and, in 1985, she was awarded the Legion of Honor, the nation’s highest honor. Later, however, she fell from public grace as her far-right political views sounded racist, as she frequently decried the influx of immigrants into France, especially Muslims.She was convicted five times in French courts of inciting racial hatred. Notably, she criticized the Muslim practice of slaughtering sheep during annual religious holidays like Eid al-Adha.Bardot’s 1992 marriage to fourth husband Bernard d’Ormale, a onetime adviser to former National Front leader Jean-Marie Le Pen, contributed to her political shift. She described the outspoken nationalist as a “lovely, intelligent man.”In 2012, she caused controversy again when she wrote a letter in support of Marine Le Pen, the current leader of the party — now renamed National Rally — in her failed bid for the French presidency. In 2018, at the height of the #MeToo movement, Bardot said in an interview that most actors protesting sexual harassment in the film industry were “hypocritical” and “ridiculous” because many played “the teases” with producers to land parts.She said she had never been a victim of sexual harassment and found it “charming to be told that I was beautiful or that I had a nice little ass.” Brigitte Anne-Marie Bardot was born Sept. 28, 1934, to a wealthy industrialist. A shy, secretive child, she studied classical ballet and was discovered by a family friend who put her on the cover of Elle magazine at age 14.Bardot once described her childhood as “difficult” and said her father was a strict disciplinarian.But it was French movie producer Vadim, whom she married in 1952, who saw her potential and wrote “And God Created Woman” to showcase provocative sensuality.The film, which portrayed Bardot as a bored newlywed who beds her brother-in-law, had a decisive influence on New Wave directors Jean-Luc Godard and Francois Truffaut, and came to embody the hedonism and sexual freedom of the 1960s.The film was a box-office hit, and it made Bardot a superstar. Her girlish pout, tiny waist and shape were often more appreciated than her talent.”It’s an embarrassment to have acted so badly,” Bardot said of her early films. “I suffered a lot in the beginning. I was really treated like someone less than nothing.”Bardot’s unabashed, off-screen love affair with co-star Jean-Louis Trintignant further shocked the nation. It eradicated the boundaries between her public and private life and turned her into a hot prize for paparazzi.Bardot never adjusted to the limelight. She blamed the constant press attention for the suicide attempt that followed 10 months after the birth of her only child, Nicolas. Photographers had broken into her house only two weeks before she gave birth to snap a picture of her pregnant.Nicolas’ father was Jacques Charrier, a handsome French actor whom she married in 1959 but who never felt comfortable in his role as Monsieur Bardot. Bardot soon gave up her son to his father, and later said she had been chronically depressed and unready for the duties of being a mother.”I was looking for roots then,” she said in an interview. “I had none to offer.”In her 1996 autobiography “Initiales B.B.,” she likened her pregnancy to “a tumor growing inside me,” and described Charrier as “temperamental and abusive.”Bardot married her third husband, West German millionaire playboy Gunther Sachs, in 1966, but the relationship ended in divorce three years later.Among her films were “A Parisian” (1957); “In Case of Misfortune,” in which she starred in 1958 with screen legend Jean Gabin; “The Truth” (1960); “Private Life” (1962); “A Ravishing Idiot” (1964); “Shalako” (1968); “Women” (1969); “The Bear and the Doll” (1970); “Rum Boulevard” (1971); and “Don Juan” (1973).With the exception of 1963’s critically acclaimed “Contempt,” directed by Godard, Bardot’s films were rarely complicated by plots. Often they were vehicles to display Bardot’s curves and legs in scanty dresses or frolicking nude in the sun.”It was never a great passion of mine,” she said of filmmaking. “And it can be deadly sometimes. Marilyn (Monroe) perished because of it.”Bardot retired to her Riviera villa in St. Tropez at the age of 39 in 1973 after “The Woman Grabber.” She emerged a decade later with a new persona: An animal rights lobbyist. She abandoned her jet-set life and sold off movie memorabilia and jewelry to create a foundation devoted to the prevention of animal cruelty.Her activism knew no borders. She urged South Korea to ban the sale of dog meat and once wrote to U.S. President Bill Clinton asking why the U.S. Navy recaptured two dolphins it had released into the wild.She attacked centuries-old French and Italian sporting traditions including the Palio, a free-for-all horse race, and campaigned on behalf of wolves, rabbits, kittens and turtle doves.By the late 1990s, Bardot was making headlines that would lose her many fans. She was convicted and fined five times between 1997 and 2008 for inciting racial hatred in incidents inspired by her anger at Muslim animal slaughtering rituals.”It’s true that sometimes I get carried away, but when I see how slowly things move forward … and despite all the promises that have been made to me by all different governments put together — my distress takes over,” Bardot told the AP.In 1997, several towns removed Bardot-inspired statues of Marianne — the bare-breasted statue representing the French Republic — after the actress voiced anti-immigrant sentiment. Also that year, she received death threats after calling for a ban on the sale of horse meat.Environmental campaigner Paul Watson, who was beaten on a seal hunt protest in Canada alongside Bardot in 1977 and campaigned with her for five decades, acknowledged that “many disagreed with Brigitte’s politics or some of her views.”“Her allegiance was not to the world of humans,” he said. “The animals of this world lost a wonderful friend today.”Bardot once said that she identified with the animals that she was trying to save.”I can understand hunted animals because of the way I was treated,” Bardot said. “What happened to me was inhuman. I was constantly surrounded by the world press.” Ganley contributed to this story before her retirement. Angela Charlton in Paris contributed to this report.

    Brigitte Bardot, the French 1960s sex symbol who became one of the greatest screen sirens of the 20th century and later an animal rights activist, has died. She was 91.

    Bruno Jacquelin, of the Brigitte Bardot Foundation for the protection of animals, told The Associated Press that she died Sunday at her home in southern France, and would not provide a cause of death. He said no arrangements have yet been made for funeral or memorial services. She had been hospitalized last month.

    Bardot became an international celebrity as a sexualized teen bride in the 1956 movie “And God Created Woman.” Directed by her then-husband, Roger Vadim, it triggered a scandal with scenes of the long-legged beauty dancing on tables naked.

    At the height of a cinema career that spanned some 28 films and three marriages, Bardot came to symbolize a nation bursting out of bourgeois respectability. Her tousled, blonde hair, figure and pouty irreverence made her one of France’s best-known stars.

    Such was her widespread appeal that in 1969 her features were chosen to be the model for “Marianne,” the national emblem of France and the official Gallic seal. Bardot’s face appeared on statues, postage stamps and even on coins.

    ‘’We are mourning a legend,” French President Emmanuel Macron wrote Sunday on X.

    Bardot’s second career as an animal rights activist was equally sensational. She traveled to the Arctic to blow the whistle on the slaughter of baby seals; she condemned the use of animals in laboratory experiments; and she opposed sending monkeys into space.

    “Man is an insatiable predator,” Bardot told The Associated Press on her 73rd birthday, in 2007. “I don’t care about my past glory. That means nothing in the face of an animal that suffers, since it has no power, no words to defend itself.”

    Her activism earned her compatriots’ respect and, in 1985, she was awarded the Legion of Honor, the nation’s highest honor.

    Later, however, she fell from public grace as her far-right political views sounded racist, as she frequently decried the influx of immigrants into France, especially Muslims.

    She was convicted five times in French courts of inciting racial hatred. Notably, she criticized the Muslim practice of slaughtering sheep during annual religious holidays like Eid al-Adha.

    Bardot’s 1992 marriage to fourth husband Bernard d’Ormale, a onetime adviser to former National Front leader Jean-Marie Le Pen, contributed to her political shift. She described the outspoken nationalist as a “lovely, intelligent man.”

    In 2012, she caused controversy again when she wrote a letter in support of Marine Le Pen, the current leader of the party — now renamed National Rally — in her failed bid for the French presidency.

    In 2018, at the height of the #MeToo movement, Bardot said in an interview that most actors protesting sexual harassment in the film industry were “hypocritical” and “ridiculous” because many played “the teases” with producers to land parts.

    She said she had never been a victim of sexual harassment and found it “charming to be told that I was beautiful or that I had a nice little ass.”

    Brigitte Anne-Marie Bardot was born Sept. 28, 1934, to a wealthy industrialist. A shy, secretive child, she studied classical ballet and was discovered by a family friend who put her on the cover of Elle magazine at age 14.

    Bardot once described her childhood as “difficult” and said her father was a strict disciplinarian.

    But it was French movie producer Vadim, whom she married in 1952, who saw her potential and wrote “And God Created Woman” to showcase provocative sensuality.

    The film, which portrayed Bardot as a bored newlywed who beds her brother-in-law, had a decisive influence on New Wave directors Jean-Luc Godard and Francois Truffaut, and came to embody the hedonism and sexual freedom of the 1960s.

    The film was a box-office hit, and it made Bardot a superstar. Her girlish pout, tiny waist and shape were often more appreciated than her talent.

    “It’s an embarrassment to have acted so badly,” Bardot said of her early films. “I suffered a lot in the beginning. I was really treated like someone less than nothing.”

    Bardot’s unabashed, off-screen love affair with co-star Jean-Louis Trintignant further shocked the nation. It eradicated the boundaries between her public and private life and turned her into a hot prize for paparazzi.

    Bardot never adjusted to the limelight. She blamed the constant press attention for the suicide attempt that followed 10 months after the birth of her only child, Nicolas. Photographers had broken into her house only two weeks before she gave birth to snap a picture of her pregnant.

    Nicolas’ father was Jacques Charrier, a handsome French actor whom she married in 1959 but who never felt comfortable in his role as Monsieur Bardot. Bardot soon gave up her son to his father, and later said she had been chronically depressed and unready for the duties of being a mother.

    “I was looking for roots then,” she said in an interview. “I had none to offer.”

    In her 1996 autobiography “Initiales B.B.,” she likened her pregnancy to “a tumor growing inside me,” and described Charrier as “temperamental and abusive.”

    Bardot married her third husband, West German millionaire playboy Gunther Sachs, in 1966, but the relationship ended in divorce three years later.

    Among her films were “A Parisian” (1957); “In Case of Misfortune,” in which she starred in 1958 with screen legend Jean Gabin; “The Truth” (1960); “Private Life” (1962); “A Ravishing Idiot” (1964); “Shalako” (1968); “Women” (1969); “The Bear and the Doll” (1970); “Rum Boulevard” (1971); and “Don Juan” (1973).

    With the exception of 1963’s critically acclaimed “Contempt,” directed by Godard, Bardot’s films were rarely complicated by plots. Often they were vehicles to display Bardot’s curves and legs in scanty dresses or frolicking nude in the sun.

    “It was never a great passion of mine,” she said of filmmaking. “And it can be deadly sometimes. Marilyn (Monroe) perished because of it.”

    Bardot retired to her Riviera villa in St. Tropez at the age of 39 in 1973 after “The Woman Grabber.”

    She emerged a decade later with a new persona: An animal rights lobbyist. She abandoned her jet-set life and sold off movie memorabilia and jewelry to create a foundation devoted to the prevention of animal cruelty.

    Her activism knew no borders. She urged South Korea to ban the sale of dog meat and once wrote to U.S. President Bill Clinton asking why the U.S. Navy recaptured two dolphins it had released into the wild.

    She attacked centuries-old French and Italian sporting traditions including the Palio, a free-for-all horse race, and campaigned on behalf of wolves, rabbits, kittens and turtle doves.

    By the late 1990s, Bardot was making headlines that would lose her many fans. She was convicted and fined five times between 1997 and 2008 for inciting racial hatred in incidents inspired by her anger at Muslim animal slaughtering rituals.

    “It’s true that sometimes I get carried away, but when I see how slowly things move forward … and despite all the promises that have been made to me by all different governments put together — my distress takes over,” Bardot told the AP.

    In 1997, several towns removed Bardot-inspired statues of Marianne — the bare-breasted statue representing the French Republic — after the actress voiced anti-immigrant sentiment. Also that year, she received death threats after calling for a ban on the sale of horse meat.

    Environmental campaigner Paul Watson, who was beaten on a seal hunt protest in Canada alongside Bardot in 1977 and campaigned with her for five decades, acknowledged that “many disagreed with Brigitte’s politics or some of her views.”

    “Her allegiance was not to the world of humans,” he said. “The animals of this world lost a wonderful friend today.”

    Bardot once said that she identified with the animals that she was trying to save.

    “I can understand hunted animals because of the way I was treated,” Bardot said. “What happened to me was inhuman. I was constantly surrounded by the world press.”

    Ganley contributed to this story before her retirement. Angela Charlton in Paris contributed to this report.

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  • Brigitte Bardot, 1960s film icon turned animal rights activist, dies at 91

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    Brigitte Bardot, the French 1960s sex symbol who became one of the greatest screen sirens of the 20th century and later an animal rights activist, has died. She was 91.Bruno Jacquelin, of the Brigitte Bardot Foundation for the protection of animals, told The Associated Press that she died Sunday at her home in southern France, and would not provide a cause of death. He said no arrangements have yet been made for funeral or memorial services. She had been hospitalized last month.Bardot became an international celebrity as a sexualized teen bride in the 1956 movie “And God Created Woman.” Directed by her then-husband, Roger Vadim, it triggered a scandal with scenes of the long-legged beauty dancing on tables naked.At the height of a cinema career that spanned some 28 films and three marriages, Bardot came to symbolize a nation bursting out of bourgeois respectability. Her tousled, blonde hair, figure and pouty irreverence made her one of France’s best-known stars.Such was her widespread appeal that in 1969 her features were chosen to be the model for “Marianne,” the national emblem of France and the official Gallic seal. Bardot’s face appeared on statues, postage stamps and even on coins.‘’We are mourning a legend,” French President Emmanuel Macron wrote Sunday on X.Bardot’s second career as an animal rights activist was equally sensational. She traveled to the Arctic to blow the whistle on the slaughter of baby seals; she condemned the use of animals in laboratory experiments; and she opposed sending monkeys into space.”Man is an insatiable predator,” Bardot told The Associated Press on her 73rd birthday, in 2007. “I don’t care about my past glory. That means nothing in the face of an animal that suffers, since it has no power, no words to defend itself.”Her activism earned her compatriots’ respect and, in 1985, she was awarded the Legion of Honor, the nation’s highest honor. Later, however, she fell from public grace as her far-right political views sounded racist, as she frequently decried the influx of immigrants into France, especially Muslims.She was convicted five times in French courts of inciting racial hatred. Notably, she criticized the Muslim practice of slaughtering sheep during annual religious holidays like Eid al-Adha.Bardot’s 1992 marriage to fourth husband Bernard d’Ormale, a onetime adviser to former National Front leader Jean-Marie Le Pen, contributed to her political shift. She described the outspoken nationalist as a “lovely, intelligent man.”In 2012, she caused controversy again when she wrote a letter in support of Marine Le Pen, the current leader of the party — now renamed National Rally — in her failed bid for the French presidency. In 2018, at the height of the #MeToo movement, Bardot said in an interview that most actors protesting sexual harassment in the film industry were “hypocritical” and “ridiculous” because many played “the teases” with producers to land parts.She said she had never been a victim of sexual harassment and found it “charming to be told that I was beautiful or that I had a nice little ass.” Brigitte Anne-Marie Bardot was born Sept. 28, 1934, to a wealthy industrialist. A shy, secretive child, she studied classical ballet and was discovered by a family friend who put her on the cover of Elle magazine at age 14.Bardot once described her childhood as “difficult” and said her father was a strict disciplinarian.But it was French movie producer Vadim, whom she married in 1952, who saw her potential and wrote “And God Created Woman” to showcase provocative sensuality.The film, which portrayed Bardot as a bored newlywed who beds her brother-in-law, had a decisive influence on New Wave directors Jean-Luc Godard and Francois Truffaut, and came to embody the hedonism and sexual freedom of the 1960s.The film was a box-office hit, and it made Bardot a superstar. Her girlish pout, tiny waist and shape were often more appreciated than her talent.”It’s an embarrassment to have acted so badly,” Bardot said of her early films. “I suffered a lot in the beginning. I was really treated like someone less than nothing.”Bardot’s unabashed, off-screen love affair with co-star Jean-Louis Trintignant further shocked the nation. It eradicated the boundaries between her public and private life and turned her into a hot prize for paparazzi.Bardot never adjusted to the limelight. She blamed the constant press attention for the suicide attempt that followed 10 months after the birth of her only child, Nicolas. Photographers had broken into her house only two weeks before she gave birth to snap a picture of her pregnant.Nicolas’ father was Jacques Charrier, a handsome French actor whom she married in 1959 but who never felt comfortable in his role as Monsieur Bardot. Bardot soon gave up her son to his father, and later said she had been chronically depressed and unready for the duties of being a mother.”I was looking for roots then,” she said in an interview. “I had none to offer.”In her 1996 autobiography “Initiales B.B.,” she likened her pregnancy to “a tumor growing inside me,” and described Charrier as “temperamental and abusive.”Bardot married her third husband, West German millionaire playboy Gunther Sachs, in 1966, but the relationship ended in divorce three years later.Among her films were “A Parisian” (1957); “In Case of Misfortune,” in which she starred in 1958 with screen legend Jean Gabin; “The Truth” (1960); “Private Life” (1962); “A Ravishing Idiot” (1964); “Shalako” (1968); “Women” (1969); “The Bear and the Doll” (1970); “Rum Boulevard” (1971); and “Don Juan” (1973).With the exception of 1963’s critically acclaimed “Contempt,” directed by Godard, Bardot’s films were rarely complicated by plots. Often they were vehicles to display Bardot’s curves and legs in scanty dresses or frolicking nude in the sun.”It was never a great passion of mine,” she said of filmmaking. “And it can be deadly sometimes. Marilyn (Monroe) perished because of it.”Bardot retired to her Riviera villa in St. Tropez at the age of 39 in 1973 after “The Woman Grabber.” She emerged a decade later with a new persona: An animal rights lobbyist. She abandoned her jet-set life and sold off movie memorabilia and jewelry to create a foundation devoted to the prevention of animal cruelty.Her activism knew no borders. She urged South Korea to ban the sale of dog meat and once wrote to U.S. President Bill Clinton asking why the U.S. Navy recaptured two dolphins it had released into the wild.She attacked centuries-old French and Italian sporting traditions including the Palio, a free-for-all horse race, and campaigned on behalf of wolves, rabbits, kittens and turtle doves.By the late 1990s, Bardot was making headlines that would lose her many fans. She was convicted and fined five times between 1997 and 2008 for inciting racial hatred in incidents inspired by her anger at Muslim animal slaughtering rituals.”It’s true that sometimes I get carried away, but when I see how slowly things move forward … and despite all the promises that have been made to me by all different governments put together — my distress takes over,” Bardot told the AP.In 1997, several towns removed Bardot-inspired statues of Marianne — the bare-breasted statue representing the French Republic — after the actress voiced anti-immigrant sentiment. Also that year, she received death threats after calling for a ban on the sale of horse meat.Environmental campaigner Paul Watson, who was beaten on a seal hunt protest in Canada alongside Bardot in 1977 and campaigned with her for five decades, acknowledged that “many disagreed with Brigitte’s politics or some of her views.”“Her allegiance was not to the world of humans,” he said. “The animals of this world lost a wonderful friend today.”Bardot once said that she identified with the animals that she was trying to save.”I can understand hunted animals because of the way I was treated,” Bardot said. “What happened to me was inhuman. I was constantly surrounded by the world press.” Ganley contributed to this story before her retirement. Angela Charlton in Paris contributed to this report.

    Brigitte Bardot, the French 1960s sex symbol who became one of the greatest screen sirens of the 20th century and later an animal rights activist, has died. She was 91.

    Bruno Jacquelin, of the Brigitte Bardot Foundation for the protection of animals, told The Associated Press that she died Sunday at her home in southern France, and would not provide a cause of death. He said no arrangements have yet been made for funeral or memorial services. She had been hospitalized last month.

    Bardot became an international celebrity as a sexualized teen bride in the 1956 movie “And God Created Woman.” Directed by her then-husband, Roger Vadim, it triggered a scandal with scenes of the long-legged beauty dancing on tables naked.

    At the height of a cinema career that spanned some 28 films and three marriages, Bardot came to symbolize a nation bursting out of bourgeois respectability. Her tousled, blonde hair, figure and pouty irreverence made her one of France’s best-known stars.

    Such was her widespread appeal that in 1969 her features were chosen to be the model for “Marianne,” the national emblem of France and the official Gallic seal. Bardot’s face appeared on statues, postage stamps and even on coins.

    ‘’We are mourning a legend,” French President Emmanuel Macron wrote Sunday on X.

    Bardot’s second career as an animal rights activist was equally sensational. She traveled to the Arctic to blow the whistle on the slaughter of baby seals; she condemned the use of animals in laboratory experiments; and she opposed sending monkeys into space.

    “Man is an insatiable predator,” Bardot told The Associated Press on her 73rd birthday, in 2007. “I don’t care about my past glory. That means nothing in the face of an animal that suffers, since it has no power, no words to defend itself.”

    Her activism earned her compatriots’ respect and, in 1985, she was awarded the Legion of Honor, the nation’s highest honor.

    Later, however, she fell from public grace as her far-right political views sounded racist, as she frequently decried the influx of immigrants into France, especially Muslims.

    She was convicted five times in French courts of inciting racial hatred. Notably, she criticized the Muslim practice of slaughtering sheep during annual religious holidays like Eid al-Adha.

    Bardot’s 1992 marriage to fourth husband Bernard d’Ormale, a onetime adviser to former National Front leader Jean-Marie Le Pen, contributed to her political shift. She described the outspoken nationalist as a “lovely, intelligent man.”

    In 2012, she caused controversy again when she wrote a letter in support of Marine Le Pen, the current leader of the party — now renamed National Rally — in her failed bid for the French presidency.

    In 2018, at the height of the #MeToo movement, Bardot said in an interview that most actors protesting sexual harassment in the film industry were “hypocritical” and “ridiculous” because many played “the teases” with producers to land parts.

    She said she had never been a victim of sexual harassment and found it “charming to be told that I was beautiful or that I had a nice little ass.”

    Brigitte Anne-Marie Bardot was born Sept. 28, 1934, to a wealthy industrialist. A shy, secretive child, she studied classical ballet and was discovered by a family friend who put her on the cover of Elle magazine at age 14.

    Bardot once described her childhood as “difficult” and said her father was a strict disciplinarian.

    But it was French movie producer Vadim, whom she married in 1952, who saw her potential and wrote “And God Created Woman” to showcase provocative sensuality.

    The film, which portrayed Bardot as a bored newlywed who beds her brother-in-law, had a decisive influence on New Wave directors Jean-Luc Godard and Francois Truffaut, and came to embody the hedonism and sexual freedom of the 1960s.

    The film was a box-office hit, and it made Bardot a superstar. Her girlish pout, tiny waist and shape were often more appreciated than her talent.

    “It’s an embarrassment to have acted so badly,” Bardot said of her early films. “I suffered a lot in the beginning. I was really treated like someone less than nothing.”

    Bardot’s unabashed, off-screen love affair with co-star Jean-Louis Trintignant further shocked the nation. It eradicated the boundaries between her public and private life and turned her into a hot prize for paparazzi.

    Bardot never adjusted to the limelight. She blamed the constant press attention for the suicide attempt that followed 10 months after the birth of her only child, Nicolas. Photographers had broken into her house only two weeks before she gave birth to snap a picture of her pregnant.

    Nicolas’ father was Jacques Charrier, a handsome French actor whom she married in 1959 but who never felt comfortable in his role as Monsieur Bardot. Bardot soon gave up her son to his father, and later said she had been chronically depressed and unready for the duties of being a mother.

    “I was looking for roots then,” she said in an interview. “I had none to offer.”

    In her 1996 autobiography “Initiales B.B.,” she likened her pregnancy to “a tumor growing inside me,” and described Charrier as “temperamental and abusive.”

    Bardot married her third husband, West German millionaire playboy Gunther Sachs, in 1966, but the relationship ended in divorce three years later.

    Among her films were “A Parisian” (1957); “In Case of Misfortune,” in which she starred in 1958 with screen legend Jean Gabin; “The Truth” (1960); “Private Life” (1962); “A Ravishing Idiot” (1964); “Shalako” (1968); “Women” (1969); “The Bear and the Doll” (1970); “Rum Boulevard” (1971); and “Don Juan” (1973).

    With the exception of 1963’s critically acclaimed “Contempt,” directed by Godard, Bardot’s films were rarely complicated by plots. Often they were vehicles to display Bardot’s curves and legs in scanty dresses or frolicking nude in the sun.

    “It was never a great passion of mine,” she said of filmmaking. “And it can be deadly sometimes. Marilyn (Monroe) perished because of it.”

    Bardot retired to her Riviera villa in St. Tropez at the age of 39 in 1973 after “The Woman Grabber.”

    She emerged a decade later with a new persona: An animal rights lobbyist. She abandoned her jet-set life and sold off movie memorabilia and jewelry to create a foundation devoted to the prevention of animal cruelty.

    Her activism knew no borders. She urged South Korea to ban the sale of dog meat and once wrote to U.S. President Bill Clinton asking why the U.S. Navy recaptured two dolphins it had released into the wild.

    She attacked centuries-old French and Italian sporting traditions including the Palio, a free-for-all horse race, and campaigned on behalf of wolves, rabbits, kittens and turtle doves.

    By the late 1990s, Bardot was making headlines that would lose her many fans. She was convicted and fined five times between 1997 and 2008 for inciting racial hatred in incidents inspired by her anger at Muslim animal slaughtering rituals.

    “It’s true that sometimes I get carried away, but when I see how slowly things move forward … and despite all the promises that have been made to me by all different governments put together — my distress takes over,” Bardot told the AP.

    In 1997, several towns removed Bardot-inspired statues of Marianne — the bare-breasted statue representing the French Republic — after the actress voiced anti-immigrant sentiment. Also that year, she received death threats after calling for a ban on the sale of horse meat.

    Environmental campaigner Paul Watson, who was beaten on a seal hunt protest in Canada alongside Bardot in 1977 and campaigned with her for five decades, acknowledged that “many disagreed with Brigitte’s politics or some of her views.”

    “Her allegiance was not to the world of humans,” he said. “The animals of this world lost a wonderful friend today.”

    Bardot once said that she identified with the animals that she was trying to save.

    “I can understand hunted animals because of the way I was treated,” Bardot said. “What happened to me was inhuman. I was constantly surrounded by the world press.”

    Ganley contributed to this story before her retirement. Angela Charlton in Paris contributed to this report.

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