Fabrizio del Wrongo writes:
A small donkey had a role in the film. Brigitte, who named it Romeo, couldn’t bear the idea of returning it to its owner; she bought Romeo, but the hotel wouldn’t let it sleep in the garage. So Brigitte kept it in her room.
One morning she sent for me. I found her in bed, the donkey stretched out beside her on the covers.
“Vadim” she said to me, “I can’t take any more. I’m going back to Paris. I’m counting on you to look after Romeo.”
She left the next day.
— Roger Vadim
Bardot is the first modern movie sex goddess, and her emergence on the international film scene in 1957 heralded a new age of sexy movies. That age ended sometime in the early ’90s, but for a while there folks could go to the movies and expect to see nudity, wild relationship machinations, and simulated (sometimes even non-simulated) fornicating in packages that emphasized adult values and concerns. During much of this time the public’s conception of the “European film” overlapped considerably with its conception of Bardot. A European film, to some extent, was the kind of film in which Bardot might star — something a little sophisticated, winking, and decadent.
I’m not sure the adults of today even have a particular set of values and concerns. If they do, they aren’t particularly sexy, and they aren’t reflected much in movies.
Nudity below. Happy Friday.
- Vadim’s book on his movie-star love affairs is terrific.