18 reviews
Gorgeous BB w/Cool Dancing Scenes in Murder Plot!
Brigitte Bardot lights up the screen (while keeping her threads on mostly) as a wife who plans to clear her husband's name while working at a dance studio..and she can really mambo. Very complicated plot, but well-paced. Hits some night spots which few films did at the time (cross-dressing) with overall decent acting and beautiful color.
A 6 out of 10. Best performance = BB. The guy who played BB's husband (the dentist) died right after this. He was married to Michele Morgan, I believe. Brigitte is sexy, intelligent, fun, dilligent, and focused in this surprising little gem (without being art). Dawn Addams is an added treat. The DVD copy I watched was clear as a bell which many of Ms. Bardot's film transfers are not. Seek it out for an interesting and fun surprise.
A 6 out of 10. Best performance = BB. The guy who played BB's husband (the dentist) died right after this. He was married to Michele Morgan, I believe. Brigitte is sexy, intelligent, fun, dilligent, and focused in this surprising little gem (without being art). Dawn Addams is an added treat. The DVD copy I watched was clear as a bell which many of Ms. Bardot's film transfers are not. Seek it out for an interesting and fun surprise.
- shepardjessica-1
- Feb 16, 2005
- Permalink
The movie may be mildly entertaining, but Bardot is fantastic!
- bensonmum2
- Nov 19, 2005
- Permalink
Brigitte Bardot's sex-appeal justifies an otherwise forgettable movie
"Voulez-vous danser avec moi?" intends to be a light-minded humoristic thriller. As a matter of fact, it is very easy to realize "who done it", and the humor of the script is rather poor. Moreover in the plot one finds several flaws, too evident even for a movie with no pretension of likelihood.
Well, the preceding remarks have no relevance at all. Indeed, here we have a twenty-five-years-old Brigitte Bardot, folks! In Italy "Voulez-vous danser avec moi?" was entitled "Sexy Girl", a coarse and totally unsuited choice, we all agree about it... but... but in the movie Brigitte IS a sexy girl, you can bet your head on it. The film is just a long (and very welcome) promotion of her earthquake-like sex-appeal: among uncountable instances, look at her dancing...
After all, it is interesting to see a movie like "Voulez-vous danser avec moi?" to realize why, despite the low quality of many films featuring BB at the beginning of her career, people fought to get tickets to see Brigitte on the screen. And when she showed herself in flesh... according to BB's auto-biography, there was an explosion of riots, in France and in Italy and in Spain. See this movie and you will easily trust this statement of the French screen-legend.
A due final remark: also Dawn Addams gives a relevant contribution of beauty and charm to the bliss of the audience. All this considered, 90 minutes to view this movie are not wasted at all.
Well, the preceding remarks have no relevance at all. Indeed, here we have a twenty-five-years-old Brigitte Bardot, folks! In Italy "Voulez-vous danser avec moi?" was entitled "Sexy Girl", a coarse and totally unsuited choice, we all agree about it... but... but in the movie Brigitte IS a sexy girl, you can bet your head on it. The film is just a long (and very welcome) promotion of her earthquake-like sex-appeal: among uncountable instances, look at her dancing...
After all, it is interesting to see a movie like "Voulez-vous danser avec moi?" to realize why, despite the low quality of many films featuring BB at the beginning of her career, people fought to get tickets to see Brigitte on the screen. And when she showed herself in flesh... according to BB's auto-biography, there was an explosion of riots, in France and in Italy and in Spain. See this movie and you will easily trust this statement of the French screen-legend.
A due final remark: also Dawn Addams gives a relevant contribution of beauty and charm to the bliss of the audience. All this considered, 90 minutes to view this movie are not wasted at all.
Detective Brigitte
After a discussion with his spoiled wife Virginie (Brigitte Bardot), the playboy dentist Hervé Dandieu (Henri Vidal) goes to a bar where he meets the sexy dance teacher Anita Flores (Dawn Addams). She invites Hervé to dance with her and while dancing, his father-in-law arrives in the place and Hervé sneaks out with Anita. Hervé drives Anita home, and she invites him to have one last drink; Anita seduces him and they kiss each other on the sofa, while her hidden partner takes pictures of the intimacy of the couple. Hervé leaves Anita without having sex, but is blackmailed by her. She schedules a meeting with him in the dance school, but Virginie listens to their conversation and believes that Hervé is cheating her. Virginie is snoops Hervé in the dance school, and he finds Anita dead and becomes the prime suspect of the police. Virginie asks for a job in the dance school and decides to investigate the case by her own.
The silly and naive "Voulez-vous Danser Avec Moi?" has a predictable screenplay and is supported by the charm and beauty of Brigitte Bardot. Dawn Addams has a minor participation, but she is astonishing with her blues eyes and beauty. In the end, forget this flawed story and enjoy Brigitte Bardot acting like a detective and Dawn Addams that you will have a nice entertainment. My vote is six.
Title (Brazil): "Quer Dançar Comigo?" ("Do You Want to Dance with Me?")
The silly and naive "Voulez-vous Danser Avec Moi?" has a predictable screenplay and is supported by the charm and beauty of Brigitte Bardot. Dawn Addams has a minor participation, but she is astonishing with her blues eyes and beauty. In the end, forget this flawed story and enjoy Brigitte Bardot acting like a detective and Dawn Addams that you will have a nice entertainment. My vote is six.
Title (Brazil): "Quer Dançar Comigo?" ("Do You Want to Dance with Me?")
- claudio_carvalho
- Jun 15, 2008
- Permalink
good, but not a BB-vehicle
"Voulez-vous danser avec moi?" (= French for 'do you want to dance with me?'), shows competent acting in a well-built crime plot.
Set in color in the late 1950-s, this film openly deals with the Paris homo & travesty scene. Which was pretty groundbreaking for the staunch Roman Catholic France of those days.
Brigitte Bardot's appearance in "Voulez-vous danser avec moi?" shines all the way down. Showing off her dancing talents (you may know Brigitte qualified at the Paris conservatory as a classical ballet dancer). While shooting this film, Brigitte was pregnant with her only child -- according to some this shows off in her advantage as well. The third show-off is made by Brigitte's dress in a cross-striped pattern - known to this day in fashion as the 'Brigitte Bardot - design'.
In spite of her dazzling appearance, one cannot escape the conclusion that Bardot plays the wrong part here. Apart from being beautiful, Brigitte has a definite talent for light comedy. Acting crime & mystery just isn't her trade.
My last words should be for male lead Henri Vidal. In December 1959, aged 40, he died from a heart attack. This happened shortly after the completion of "Voulez-vous danser avec moi?".
Set in color in the late 1950-s, this film openly deals with the Paris homo & travesty scene. Which was pretty groundbreaking for the staunch Roman Catholic France of those days.
Brigitte Bardot's appearance in "Voulez-vous danser avec moi?" shines all the way down. Showing off her dancing talents (you may know Brigitte qualified at the Paris conservatory as a classical ballet dancer). While shooting this film, Brigitte was pregnant with her only child -- according to some this shows off in her advantage as well. The third show-off is made by Brigitte's dress in a cross-striped pattern - known to this day in fashion as the 'Brigitte Bardot - design'.
In spite of her dazzling appearance, one cannot escape the conclusion that Bardot plays the wrong part here. Apart from being beautiful, Brigitte has a definite talent for light comedy. Acting crime & mystery just isn't her trade.
My last words should be for male lead Henri Vidal. In December 1959, aged 40, he died from a heart attack. This happened shortly after the completion of "Voulez-vous danser avec moi?".
- wvisser-leusden
- Aug 2, 2009
- Permalink
Not bad......
This film begins with Brigitte Bardot falling in love with a dentist (Henri Vidal) and they soon marry. Soon after, he is seduced by a lady and goes back to her apartment. He begins to undress her and stops himself--he can't allow himself to cheat on his bride. He immediately leaves--not knowing that she is a blackmailer and her lover was photographing them in some very compromising positions. This begs the audience to wonder if any man can be THAT stupid and self-destructive, as at the time, Bardot was probably the most beautiful woman in the world (and, yes, I know there ARE men who cheat on their loving wives all the time--even if it makes no sense).
Soon, the lady blackmailer shows up at the Dentist's office and demands money for the photos. A sane man would come clean to his wife right there and then, but this would also make for a VERY short film, so he agrees to meet her later at her dance studio. The poor husband plans on killing the woman but before he can, she's already dead--apparently she has created a lot of enemies! Brigitte arrives soon after him, as she'd overheard the two talking earlier and wondered what was happening between them. Both Bardot and her hubby flee to avoid the police.
Bardot believes her husband when he tells her what happened. However, someone saw him at the studio and the police have a good description of him. So, to save her dumb husband, Brigitte decides to go undercover--and goes to the dance studio to ask for a job. Perhaps someone there knows what happened or was responsible for the killing. And, as this is only about thirty minutes into the film, you can safely assume that SOMETHING will occur sooner or later! This part of the film seemed well-suited for Bardot, as she was an exceptional dancer in real life.
Where the film goes next is pleasant but there aren't too many surprises. Plus, while I like Bardot, this film seemed only okay--nothing special but also not bad in any particular way. The writing is decent, the acting just fine but apart from the role played by a gay transvestite, the rest of the film just seemed ordinary. Non-Bardot fans can skip this one--it's just among her best.
By the way, like many French films of the era, this one if pretty frank about sex and sexuality. You will see some nudity it's obviously quite different from the sort of fare coming out of Hollywood at the same time!
Soon, the lady blackmailer shows up at the Dentist's office and demands money for the photos. A sane man would come clean to his wife right there and then, but this would also make for a VERY short film, so he agrees to meet her later at her dance studio. The poor husband plans on killing the woman but before he can, she's already dead--apparently she has created a lot of enemies! Brigitte arrives soon after him, as she'd overheard the two talking earlier and wondered what was happening between them. Both Bardot and her hubby flee to avoid the police.
Bardot believes her husband when he tells her what happened. However, someone saw him at the studio and the police have a good description of him. So, to save her dumb husband, Brigitte decides to go undercover--and goes to the dance studio to ask for a job. Perhaps someone there knows what happened or was responsible for the killing. And, as this is only about thirty minutes into the film, you can safely assume that SOMETHING will occur sooner or later! This part of the film seemed well-suited for Bardot, as she was an exceptional dancer in real life.
Where the film goes next is pleasant but there aren't too many surprises. Plus, while I like Bardot, this film seemed only okay--nothing special but also not bad in any particular way. The writing is decent, the acting just fine but apart from the role played by a gay transvestite, the rest of the film just seemed ordinary. Non-Bardot fans can skip this one--it's just among her best.
By the way, like many French films of the era, this one if pretty frank about sex and sexuality. You will see some nudity it's obviously quite different from the sort of fare coming out of Hollywood at the same time!
- planktonrules
- Sep 14, 2010
- Permalink
good, but not a BB-vehicle
This well-made movie just has one flaw: Brigitte Bardot is not suited for playing a crime plot. As her talents are with light comedy, she is not able to carry out the necessary mystery, horror and suspense here.
For this reason I think 'Voulez-vous danser avec moi?' not entirely convincing. But apart from that, it's quite entertaining. It is shot well, its acting is good, and its story catches the viewer's interest from beginning to end. Of course your special attention for the scenes in the dance-school, fully displaying Brigitte's excellent dancing skills.
This movie also seriously deals with homosexuality, back in 1959 a groundbreaking issue. For this reason I guess Paris must have been the only location possible.
For this reason I think 'Voulez-vous danser avec moi?' not entirely convincing. But apart from that, it's quite entertaining. It is shot well, its acting is good, and its story catches the viewer's interest from beginning to end. Of course your special attention for the scenes in the dance-school, fully displaying Brigitte's excellent dancing skills.
This movie also seriously deals with homosexuality, back in 1959 a groundbreaking issue. For this reason I guess Paris must have been the only location possible.
- wrvisser-leusden-nl
- Jun 3, 2004
- Permalink
Gainsbourg Master Mind
I just want to take note of the great Serge's Gainsbourg stunning appearance, short but classic! "L'homme a la-Tete-De-choux" enters with class, sets his line, and the rest is history...Check out Gainsbourg the artist: jazzman, musician, singer, poet, provocateur, precursor of rap, pop idol, eighties cult, through his musical career. Not to mention Brigitte Bardot in all of her splendor, a must see for any BB fan (check out the song "Bonnie and Clyde" for another Bardot/Gainsbourg collaboration). Good stay-at-home and somewhat suspenseful movie. Worth watching. I found this movie very enjoyable, definitely not a classic, but reminiscent of the pre-60's French thrillers.
Save the last dance for B.
- dbdumonteil
- Aug 30, 2006
- Permalink
Tribute to Brigitte
There are far worse ways to spend 90 minutes
The murder mystery plot is pretty limp, but Bardot is at her ripest and performs a joyous mambo. The gay subplot would have been unthinkable in a Hollywood film of the time; here the treatment is relatively casual and benign. The title song is a finger-snapping delight; how could it have escaped Bobby Darin's attention?
COME DANCE WITH ME (Michel Boisrond, 1959) **1/2
This and another early Brigitte Bardot vehicle, UNE PARISIENNE (1957), had been available for rental at a local DVD store for a long time but I kept postponing getting to either, believing them to be minor frothy affairs; however, having just acquired and being on the point of watching a similar effort of hers – Marc Allegret's MADEMOISELLE STRIPTEASE aka PLUCKING THE DAISY (1956) – I thought I might as well check them out too while I am at it. Anyway, I opted to start with this one being ostensibly a thriller and, while I was expecting it to involve some nudity from the star (which technically there is none), I was surprised – especially when considering the film's essentially light touch – at the amount of sleaze on display (from explicit situations and dialogue to a subplot involving gay bars and drag queens!). The premise, in fact, revolves around the Police investigation into the murder of blackmailing dance teacher Dawn Addams; incidentally, the Inspector on the trail of the assassin is Luis Bunuel regular Paul Frankeur and Serge Gainsbourg, popular yet controversial singer/songwriter and later film-maker, makes an early appearance as the victim's accomplice (photographing her in compromising positions with wealthy patrons). Their latest victim is dentist Henri Vidal (whose last film this proved to be, expiring from a heart attack at the young age of 40 – he was married to star Michele Morgan, having met on the set of his best-remembered movie i.e. the Italian spectacle FABIOLA [1948]); Bardot is his wife, whose father (Noel Roquevert, from a number of H.G. Clouzot titles) is an industrialist. Vidal had run into Addams at a nightclub after a row with his bride: she even goes to his clinic, where Bardot works as his assistant, and supplies him with incriminating photos of their dalliance. On his part, not intending to pay, he visits Addams at her studio and causes a scene – but then relents and makes an appointment for the next day at the same place; when he arrives, Vidal finds the woman dead and is then surprised in the room by Bardot who had followed him there! Of course, he has to confess everything and though Roquevert does not readily believe him, Bardot does and determines to establish his innocence (since his description was given to the Police by Addams' dance colleagues) by finding the real killer. To this end, she takes a job as a dance teacher there and even ingratiates herself with Frankeur; incidentally, it appears that the killer could not have exited the room before Vidal's entrance as there is no other way out: this actually reminds Bardot of the Gaston Leroux novel "The Mystery Of The Yellow Room" (whose 1930 film adaptation by Marcel L'Herbier, along with its sequel THE PERFUME OF THE LADY IN BLACK – nothing whatsoever to do with the atypical Italian giallo from 1974 – I have also just gotten my hands on!) and from here on in, as the saying goes, the plot thickens. Despite the generic and downright misleading title, this is a fairly enjoyable picture (especially easy to take in pleasant color); mind you, the suspense reaches no great heights (given that the murder method is given away all too soon and the motive emerges to be characteristically weak) – and, yet, the viewer's attention is engaged throughout and one is genuinely curious to discover the guilty party's identity (what with the variety of suspects being fingered along the way).
- Bunuel1976
- Jan 23, 2010
- Permalink
Not much
French Crime Comedy with Brigitte BARDOT and Henri VIDAL
The French film actress Brigitte Bardot was already a phenomenon. Since she played leading roles, French films with BB have become real export hits. Even this film, which for the first time made a little less than expected, was shown in cinemas in all countries of the western world. West German cinemagoers were able to see it just four days after the premiere in Paris. With her blonde mane, her famous pout and her voluptuous figure, BB was also a feast for the eyes! And her natural sensuality. It's enough to make you melt!
In this French-Italian film by Michel Boisrond (screenplay: also Gerard Oury, based on a novel by Kelley Roos (The Blonde Died Dancing)) everything happens very quickly at the beginning. The beautiful Virginie (BB) falls in love with an attractive dentist (Henri Vidal), marries him and soon has her first marital dispute. Of course, a husband in the 1950s cannot survive this inconsolable. In a nightclub, the overwhelmed man meets a stunning redhead (Dawn Addams), who invites him to her home and almost seduces him in the process. It is no coincidence that the enterprising lady's lover (Serge Gainsbourg) is there with a camera. The next morning, Anita, who also works as a dance teacher, begins her blackmail attempt, which Herve, who has reconciled with his wife, is hardly up to. Virginie becomes suspicious and follows her husband to the blackmailer's dance school, where a real surprise awaits. A murder has been committed and Herve seems to be the main suspect. Convinced of his innocence, Virginie takes a vacant position as a dance teacher and sets out to find the murderer with lots of charm and full physical effort...
This charming fun naturally lives from its attractive actors. BB can carry any film, even if she only had to read out the phone book. Watching this actress dance the mambo is a worthwhile way to pass the time for almost 90 minutes.
Henri Vidal (1919-1959), who also appeared in the must-see war classic "Das Boot der Verdammten / Boat of the Damned", is convincing as the handsome husband of the blonde film goddess. A week before the film's premiere, Henri Vidal died of a heart attack at the age of just 40.
The British actress Dawn Addams (1930-1985) had already been seen at Charlie Chaplin's side in "A King in New York". A year after the film with BB, she was to feel "Die 1000 Augen des Doktor Mabuse / The 1000 Eyes of Doctor Mabuse" directed at her in Berlin. Dario Moreno, Paul Frankeur, Noel Roquevert, Philippe Nicaud, Maria Pacome and Georges Descrieres can be seen in other roles.
But what makes this film, distributed by UFA-Sofradis, stand out are the wonderfully frivolous ingredients that you would never have expected from a film from the late 1950s. You can admire Dawan Addams's voluptuous and, above all, uncovered breasts in close-up. BB and Henri Vidal are there with some astonishingly naughty pillow talk. BB watches three strapping guys showering through an attic window in the dance school. BB struts into a gay bar wearing a very low-cut cocktail dress. You could probably only see something like that in a French film at the time. Of course, it's also in keeping with the times if things get a little homophobic. The Germans also get their fair share of criticism. One of the suspects' last name is Lalemand, of all things. It had to be!
No problem! Tout le monde loves the charmingly provocative BB. And that's what makes this film so special, which gives its superstar a few wonderful performances that are timelessly worth seeing. It is perhaps also interesting to note that BB was pregnant with her only child during filming in Nice. The title song, which certainly makes you think of more than just dancing with the sensual BB, is sung by Serge Gainsbourg, whose song "Poupee de cire, poupee de son" sung by France Gall won the Eurovision Song Contest in 1965. Gainsbourg also played Brad Harris's opponent in the sword and sandal films "Sansone" and "La furia di Ercole". In addition, although the film was shot in color, it was not in widescreen format.
In this French-Italian film by Michel Boisrond (screenplay: also Gerard Oury, based on a novel by Kelley Roos (The Blonde Died Dancing)) everything happens very quickly at the beginning. The beautiful Virginie (BB) falls in love with an attractive dentist (Henri Vidal), marries him and soon has her first marital dispute. Of course, a husband in the 1950s cannot survive this inconsolable. In a nightclub, the overwhelmed man meets a stunning redhead (Dawn Addams), who invites him to her home and almost seduces him in the process. It is no coincidence that the enterprising lady's lover (Serge Gainsbourg) is there with a camera. The next morning, Anita, who also works as a dance teacher, begins her blackmail attempt, which Herve, who has reconciled with his wife, is hardly up to. Virginie becomes suspicious and follows her husband to the blackmailer's dance school, where a real surprise awaits. A murder has been committed and Herve seems to be the main suspect. Convinced of his innocence, Virginie takes a vacant position as a dance teacher and sets out to find the murderer with lots of charm and full physical effort...
This charming fun naturally lives from its attractive actors. BB can carry any film, even if she only had to read out the phone book. Watching this actress dance the mambo is a worthwhile way to pass the time for almost 90 minutes.
Henri Vidal (1919-1959), who also appeared in the must-see war classic "Das Boot der Verdammten / Boat of the Damned", is convincing as the handsome husband of the blonde film goddess. A week before the film's premiere, Henri Vidal died of a heart attack at the age of just 40.
The British actress Dawn Addams (1930-1985) had already been seen at Charlie Chaplin's side in "A King in New York". A year after the film with BB, she was to feel "Die 1000 Augen des Doktor Mabuse / The 1000 Eyes of Doctor Mabuse" directed at her in Berlin. Dario Moreno, Paul Frankeur, Noel Roquevert, Philippe Nicaud, Maria Pacome and Georges Descrieres can be seen in other roles.
But what makes this film, distributed by UFA-Sofradis, stand out are the wonderfully frivolous ingredients that you would never have expected from a film from the late 1950s. You can admire Dawan Addams's voluptuous and, above all, uncovered breasts in close-up. BB and Henri Vidal are there with some astonishingly naughty pillow talk. BB watches three strapping guys showering through an attic window in the dance school. BB struts into a gay bar wearing a very low-cut cocktail dress. You could probably only see something like that in a French film at the time. Of course, it's also in keeping with the times if things get a little homophobic. The Germans also get their fair share of criticism. One of the suspects' last name is Lalemand, of all things. It had to be!
No problem! Tout le monde loves the charmingly provocative BB. And that's what makes this film so special, which gives its superstar a few wonderful performances that are timelessly worth seeing. It is perhaps also interesting to note that BB was pregnant with her only child during filming in Nice. The title song, which certainly makes you think of more than just dancing with the sensual BB, is sung by Serge Gainsbourg, whose song "Poupee de cire, poupee de son" sung by France Gall won the Eurovision Song Contest in 1965. Gainsbourg also played Brad Harris's opponent in the sword and sandal films "Sansone" and "La furia di Ercole". In addition, although the film was shot in color, it was not in widescreen format.
- ZeddaZogenau
- Aug 21, 2024
- Permalink
bardot wow !
Bardot was the sex symbol of France in the 50s and 60s, and internationally I think, if you watch this film you will understand why that is the case.
She can shine in this light-hearted crime film and attract all the attention, which she accomplishes effortlessly.
This is of course not a serious crime film, the tone is too light for that, but that lightness still works quite well, Bardot can steal the show in the mean time with her wonderful lighthearted femininity.
The plot is not special, but it is well constructed and it leaves you as a viewer in the dark until the last moment.
You could almost say it's a successful crime comedy.
She can shine in this light-hearted crime film and attract all the attention, which she accomplishes effortlessly.
This is of course not a serious crime film, the tone is too light for that, but that lightness still works quite well, Bardot can steal the show in the mean time with her wonderful lighthearted femininity.
The plot is not special, but it is well constructed and it leaves you as a viewer in the dark until the last moment.
You could almost say it's a successful crime comedy.
- petersjoelen
- Feb 23, 2024
- Permalink
Bardot at 24 was a stunner!
Brigitte Bardot was so completely feminine, playful, beautiful, and witty, she couldn't miss connecting with the male sector of any movie-going audience. And the women must have hated her, or at least envied her to tears.
Bardot's face is so luminous, focusing upon it is more stimulating than seeing close-up, revealing body shots of her contemporaries such as Eckberg and Lollobrigida. She could take a mediocre, or in this case, convoluted plot, and save a film which would have been a dud with just about any other female star.
The film is fast-paced, and suspenseful, in so far as the futility of trying to guess the culprit's identity, prior to the odds and ends being tied up neatly, in the end. And it far surpasses Bardot's collaboration with director Michel Boisrond, in "Mme. Pigalle," produced three years earlier. That one is filled with artifice and "mannerisms." such as fake auto rides, background landscape fakery, lip-synch singing, fake piano playing, and the stereotypical bumbling, "moronic cops" syndrome, so prevalent in films of the time. This film contains no artifice, or editing "tricks," whatsoever, and while it lacks for substance, it is entertaining, and the Bardot charisma at this most appealing stage of her life, stays with one, long after the curtain rings down.
Henri Vidal, in his final role before his untimely death at age 40, is well-cast, as Bardot's husband who is being blackmailed by femme fatale Dawn Addams, herself a red-headed stunner who exits the film much too soon to suit the male voyeur contingent.
********
Bardot's face is so luminous, focusing upon it is more stimulating than seeing close-up, revealing body shots of her contemporaries such as Eckberg and Lollobrigida. She could take a mediocre, or in this case, convoluted plot, and save a film which would have been a dud with just about any other female star.
The film is fast-paced, and suspenseful, in so far as the futility of trying to guess the culprit's identity, prior to the odds and ends being tied up neatly, in the end. And it far surpasses Bardot's collaboration with director Michel Boisrond, in "Mme. Pigalle," produced three years earlier. That one is filled with artifice and "mannerisms." such as fake auto rides, background landscape fakery, lip-synch singing, fake piano playing, and the stereotypical bumbling, "moronic cops" syndrome, so prevalent in films of the time. This film contains no artifice, or editing "tricks," whatsoever, and while it lacks for substance, it is entertaining, and the Bardot charisma at this most appealing stage of her life, stays with one, long after the curtain rings down.
Henri Vidal, in his final role before his untimely death at age 40, is well-cast, as Bardot's husband who is being blackmailed by femme fatale Dawn Addams, herself a red-headed stunner who exits the film much too soon to suit the male voyeur contingent.
********
Brigitte Bardot investigates
Light-hearted crime comedy
We didn't have many light-hearted crime comedies in the history of cinema. Unfortunately, I tend to think after this one.
Okay, the plot is kind of stitched together.
Though BB is just a precious gem on one's eyes, gifted actress, splendid dancer (not doubled), attractive, funny, you just name it.
Somehow, it is sad that Addams isn't in the film for all too long. I'm amazed how effortlessly she is a counterpart to BB, and attractive in a very different way. I could have imagined a movie that sees their natural differences, if not contradictions, being played out.
The astonishing young Frankeur, whom I remember with pleasure as an old man in Bunuels French movies, not sooo long afterwards. Sege Gainsbourg plays himself, the dubious character here and there.
Had this movie seen a proper script, and director, it could have become more than a light and amusing entertainment. So it is a just a nice past-time, and surely a must for fans of BB.
Okay, the plot is kind of stitched together.
Though BB is just a precious gem on one's eyes, gifted actress, splendid dancer (not doubled), attractive, funny, you just name it.
Somehow, it is sad that Addams isn't in the film for all too long. I'm amazed how effortlessly she is a counterpart to BB, and attractive in a very different way. I could have imagined a movie that sees their natural differences, if not contradictions, being played out.
The astonishing young Frankeur, whom I remember with pleasure as an old man in Bunuels French movies, not sooo long afterwards. Sege Gainsbourg plays himself, the dubious character here and there.
Had this movie seen a proper script, and director, it could have become more than a light and amusing entertainment. So it is a just a nice past-time, and surely a must for fans of BB.