Building a Better Brigitte

If "imitation," as Charles Caleb Colton first said, "is the sincerest of flattery," then Brigitte Bardot, sans doute, is the most sincerely flattered girl in a nation with a well-worn reputation for flattering girls. Today, in France, talented young directors and producers like Roger Vadim, Louis Malle, Claude Chabrol, Joseph Lisbona and Jean-Pierre Mocky (none of whom is over 35) are throwing themselves wholeheartedly into the search for sexy young starlets; these latter are springing from the screen like so many shapely mushrooms — and never have so many owed so much to one girl. There was a time, and not too long ago, when the puckish pulchritude of la belle BB was considered a commodity suitable only for export. Frenchmen, blase producers reasoned, were far too sophisticated to go ga-ga over a girl as did the naive natives of the U.S.A. Turned out that the titans of cinema were themselves naive in underestimating the power of BB's properties and pout. Frenchmen loved her, naturally; also, the foreign reaction was unexpectedly overwhelming in its approval and its box-office dividends. The reaction of the French film makers was predictable: the one who owned BB hastened to make a flurry of films starring her; the others began to find as many reasonable facsimiles as possible and push them before the cameras immediately, scarcely giving them time to undress. For what has been borrowed is not only Brigitte's appearance — the long hair, the pouting child-woman attitude, the body ripe unto bursting — but also Bardot's modus operandi: the scripts for the films in which these BB echoers appear invariably call for the exposure of excellent expanses of Gallic goodies, and a tastefully titillating sexual tussle or two. Of the hot host of imitators, the young ladies whose faces ornament the top of this page are perhaps the most promising. They are, reading clockwise from bottom left: Mylène Demongeot, Isabell Corey, Pascale Petit, Pascale Audret, Daniele Gaubert, Jacqueline Sassard, Annette Vadim and Agnès Laurent. Competition in the Bardot Derby has made cinematic attitudes in France swing around full circle; of recent date one film, Les Liaisons Dangereuses, directed by Roger Vadim (the man most responsible for BB's meteoric rise, and her first husband), starring his present wife, Annette, was edited, given a permit "for adults only," and, temporarily at least, denied an export permit — which, ironically enough, meant that it was for domestic consumption only. Where will it all end? No one really knows. BB's happy lack of inhibition has started a jolly snowballing trend, with the end in sight literally but not figuratively. What does the future hold in store for the Bardot-appreciative movie public? In this area, we are prepared to offer what seems to us to be a safe prediction. Unless we miss our guess, we can expect shortly to be inundated by a series of films in which the BB imitators we've mentioned, and others besides, will attempt to outdo the original and each other in charm, provocation, and the exposure of overall femininity (you'll find sample scenes on the next pages). For men of clear vision, it's an unexpected cinematic harvest. Especially in light of the season, the more, say we, the merrier.

Isabell

Pascale

Pascals

Mylène

Daniele

Agnès

Jacqueline

Annette

Pascale, Jacqueline and Mylène join Alain Delon in a playful wrestling scene (above and right) from the movie Three Girls in Paris. The plot concerns the Parisian misadventures of the trio. Each is separately wooed and won by Alain; then they discover he is something less than faithful to them, and together determine to wreak appropriate revenge.

Pascale Petit, Jacqueline Sassard and Mylène Demongeot (from top to bottom, right) form a trio of temptresses. Petite Mademoiselle Petit doubles between movies and the stage, presently receives more French fan mail than Brigitte. Jacqueline, though French, first became a star in Italy, was signed to a seven-year contract as soon as French producers saw her in her first role. Mylène left a successful modeling career for the movies, was seen here as David Niven's girl in Bonjour Tristesse.

Pascale Petit, Jacqueline Sassard and Mylène Demongeot (from top to bottom, right) form a trio of temptresses. Petite Mademoiselle Petit doubles between movies and the stage, presently receives more French fan mail than Brigitte. Jacqueline, though French, first became a star in Italy, was signed to a seven-year contract as soon as French producers saw her in her first role. Mylène left a successful modeling career for the movies, was seen here as David Niven's girl in Bonjour Tristesse.

Pascale Petit, Jacqueline Sassard and Mylène Demongeot (from top to bottom, right) form a trio of temptresses. Petite Mademoiselle Petit doubles between movies and the stage, presently receives more French fan mail than Brigitte. Jacqueline, though French, first became a star in Italy, was signed to a seven-year contract as soon as French producers saw her in her first role. Mylène left a successful modeling career for the movies, was seen here as David Niven's girl in Bonjour Tristesse.

Pascale, Jacqueline and Mylène join Alain Delon in a playful wrestling scene (above and right) from the movie Three Girls in Paris. The plot concerns the Parisian misadventures of the trio. Each is separately wooed and won by Alain; then they discover he is something less than faithful to them, and together determine to wreak appropriate revenge.

Agnès Laurent (left and below) is no stranger to PLAYBOY pages (Pocket-Size Parisienne, July 1958) or, it would seem from this scene, to Jean Marais. The film sequence is from Un Amour de Poche (Pocket Love), a movie that has not played the U.S., in which Agnès is reduced to pocket size by scientist Marais, in order to keep their illicit love affair from being discovered by his wife. Here, Marais holds doll-Agnès and nude Agnès herself — in the film, one appears to turn into the other.

Sophie Destrades, here a couchful of pulchritude, is a slightly plumper version of Brigitte. Just turned 18, Sophie was named Miss France and Miss Europe in the first two beauty contests she entered. Her film career is barely under way (the pun is intended), but she has already begun to imitate Bardot — she's dating BB's guitar-playing ex-boyfriend, Sacha Diestel.

Agnès Laurent (left and below) is no stranger to PLAYBOY pages (Pocket-Size Parisienne, July 1958) or, it would seem from this scene, to Jean Marais. The film sequence is from Un Amour de Poche (Pocket Love), a movie that has not played the U.S., in which Agnès is reduced to pocket size by scientist Marais, in order to keep their illicit love affair from being discovered by his wife. Here, Marais holds doll-Agnès and nude Agnès herself — in the film, one appears to turn into the other.

Agnès Laurent (left and below) is no stranger to PLAYBOY pages (Pocket-Size Parisienne, July 1958) or, it would seem from this scene, to Jean Marais. The film sequence is from Un Amour de Poche (Pocket Love), a movie that has not played the U.S., in which Agnès is reduced to pocket size by scientist Marais, in order to keep their illicit love affair from being discovered by his wife. Here, Marais holds doll-Agnès and nude Agnès herself — in the film, one appears to turn into the other.

Agnès Laurent (left and below) is no stranger to PLAYBOY pages (Pocket-Size Parisienne, July 1958) or, it would seem from this scene, to Jean Marais. The film sequence is from Un Amour de Poche (Pocket Love), a movie that has not played the U.S., in which Agnès is reduced to pocket size by scientist Marais, in order to keep their illicit love affair from being discovered by his wife. Here, Marais holds doll-Agnès and nude Agnès herself — in the film, one appears to turn into the other.

Agnès Laurent (left and below) is no stranger to PLAYBOY pages (Pocket-Size Parisienne, July 1958) or, it would seem from this scene, to Jean Marais. The film sequence is from Un Amour de Poche (Pocket Love), a movie that has not played the U.S., in which Agnès is reduced to pocket size by scientist Marais, in order to keep their illicit love affair from being discovered by his wife. Here, Marais holds doll-Agnès and nude Agnès herself — in the film, one appears to turn into the other.

Jeanne Valerie in a pensive portrait (left) and a pouting pose (above). The gentleman whose line is busy is Gérard Philipe, and the movie in which Jeanne makes like an unadorned telephone stand is LBS Liaisons Dan-gereuses, the French film denied export, censored for home distribution. Literally rounding out the cast is stunning Annette Vadim (below).

Pascale Audret is a French girl who was brought up in Spain, returned to France to star in such films as Bal de Nuit (above and below). The setting is a girls' dormitory, and Pascale comes out second best in the struggle of the sweaters.

Pascale Audret is a French girl who was brought up in Spain, returned to France to star in such films as Bal de Nuit (above and below). The setting is a girls' dormitory, and Pascale comes out second best in the struggle of the sweaters.

Jeanne Valerie in a pensive portrait (left) and a pouting pose (above). The gentleman whose line is busy is Gérard Philipe, and the movie in which Jeanne makes like an unadorned telephone stand is LBS Liaisons Dan-gereuses, the French film denied export, censored for home distribution. Literally rounding out the cast is stunning Annette Vadim (below).

Dany Carrel (left, above) is featured with Estella Blain (top of page) in a scene from The Girl Hunters. The hunters of the title are Charles Aznavour (left), France's counterpart of Frank Sinatra, and Jacques Charrier, who is Brigitte's new husband.

Dany Carrel (left, above) is featured with Estella Blain (top of page) in a scene from The Girl Hunters. The hunters of the title are Charles Aznavour (left), France's counterpart of Frank Sinatra, and Jacques Charrier, who is Brigitte's new husband.

Annette Vadim (above and right) in scenes from Les Liaisons Dangereuses, a film which explores the naked truth about love. Her husband and director, Roger Vadim, once husband and director to Brigitte, is considered by many the man most responsible for Bardot's popularity. For this reason, and because of her natural charms, Annette may well be the girl most likely to acquire the crown and sceptre of cinematic sex if BB abdicates.

Estella Blain (left and below) is known as a talented comedienne, but there is little of the light touch In the scene she plays with Robert Hossein in Women Vanish. The white slave trade is the subject of the movie, and, attempting to recruit Estella, Robert is none too gentle. Estella's film career started slowly a few years ago, but when the Bardot craze began, her ability to fill BB's shoes (et al.) has created a continuous demand for her services.

Estella Blain (left and below) is known as a talented comedienne, but there is little of the light touch In the scene she plays with Robert Hossein in Women Vanish. The white slave trade is the subject of the movie, and, attempting to recruit Estella, Robert is none too gentle. Estella's film career started slowly a few years ago, but when the Bardot craze began, her ability to fill BB's shoes (et al.) has created a continuous demand for her services.

Gisele Gallois is the name of this tasty blonde on the rocks, one of the latest entries in the race to see whose pretty face and figure can replace la Brigitte's. French producers are overjoyed by the BB imitators for reasons besides their box-office popularity: wardrobe costs for the female stars of their films are the lowest in cinematic history.

The cause of it all, Brigitte Bardot in the famous flesh, enjoys an afternoon of boating and bathing at St. Tropez. Her whirlwind rise was a phenomenon unique in movie annals, and the reasons for it have been the subject of endless speculation: her body is as delightfully developed as anyone might wish, but because her face is that of a willful, mischievous child, and because the men cast opposite her are often older stars like Jean Gabin, Charles Boyer and Curt Jergens, many people have seen in her success similarities to the fictional heroine of the spectacular best-seller, Lolita. Her popularity, whatever its causes, has not been hurt by the efforts of her imitators; still secure as the world's first female of filmdom is Bardot, bar none.

The cause of it all, Brigitte Bardot in the famous flesh, enjoys an afternoon of boating and bathing at St. Tropez. Her whirlwind rise was a phenomenon unique in movie annals, and the reasons for it have been the subject of endless speculation: her body is as delightfully developed as anyone might wish, but because her face is that of a willful, mischievous child, and because the men cast opposite her are often older stars like Jean Gabin, Charles Boyer and Curt Jergens, many people have seen in her success similarities to the fictional heroine of the spectacular best-seller, Lolita. Her popularity, whatever its causes, has not been hurt by the efforts of her imitators; still secure as the world's first female of filmdom is Bardot, bar none.

The cause of it all, Brigitte Bardot in the famous flesh, enjoys an afternoon of boating and bathing at St. Tropez. Her whirlwind rise was a phenomenon unique in movie annals, and the reasons for it have been the subject of endless speculation: her body is as delightfully developed as anyone might wish, but because her face is that of a willful, mischievous child, and because the men cast opposite her are often older stars like Jean Gabin, Charles Boyer and Curt Jergens, many people have seen in her success similarities to the fictional heroine of the spectacular best-seller, Lolita. Her popularity, whatever its causes, has not been hurt by the efforts of her imitators; still secure as the world's first female of filmdom is Bardot, bar none.

The cause of it all, Brigitte Bardot in the famous flesh, enjoys an afternoon of boating and bathing at St. Tropez. Her whirlwind rise was a phenomenon unique in movie annals, and the reasons for it have been the subject of endless speculation: her body is as delightfully developed as anyone might wish, but because her face is that of a willful, mischievous child, and because the men cast opposite her are often older stars like Jean Gabin, Charles Boyer and Curt Jergens, many people have seen in her success similarities to the fictional heroine of the spectacular best-seller, Lolita. Her popularity, whatever its causes, has not been hurt by the efforts of her imitators; still secure as the world's first female of filmdom is Bardot, bar none.