The much-touted BB is on display here for all to see and admire. But frankly, she looks more provocative in the stills and posters outside the cinema than she does in the movie itself. It's an uninspired little quadrangle tale in which a boring lot of unsympathetic characters posture pathetically against authentic St Tropez backgrounds. In the course of over ninety minutes, nothing much of interest happens. It's one of these stories in which a lot of detailed groundwork is constantly being laid to give the audience the impression that something dramatically involving is just about to happen — but it never does. The businessman's efforts to acquire waterfront land suddenly bear fruit halfway through by a simple stratagem (and why is the anchorage allegedly worth millions anyway?) and how come the Morins who are painted as villainous "step-parents" at the beginning and from whom we expect some dazzling opposition to BB's plans, supportively change color without any explanation? Even the long-awaited climax in which one of the leading characters gets shot proves an absolute fizzer.

A parasitic form of life, women love nothing more than being slapped in the face. That's the idea behind Roger Vadim's first movie, which alternative title could be St Tropez… In the Beginning, a quainter than quaint piece, dated before being contemporary. It nevertheless drew massive crowds, and placed Brigitte Bardot's on orbit as THE French sex Goddess. To each his own.Arguing that Vadim was more interested in playing God with women than in cinema undoubtedly has a point. His track record in womanizing is impressive. His writing and directing are far less stellar though, a curious case of zeitgeist marginally interfering with melodrama, present movie being the prefect case study.The mother of Tropezian Tart, Juliette (BB) is a despicable tease and a sloth. She wants to be happy and makes everyone miserable in the process; she is a black hole of selfishness and stupidity. Far above her head when it comes to even wake up, she sow frustration and destruction wherever she goes, barefoot, under St Tropez's stupid, selfish sun. She's in love, but not quite, with one guy whose brother Michel (Jean-Louis Trintignant, handsome in his prime) she will marry, precipitating a not very interesting chain of events including guns, a juke box, a torrid mambo scene and Curt Jurgens as the cosmopolitan vile seducer without whom the whole piece would play out like Marcel Pagnol.Bardot is a complete cipher, reluctant to act as to be filmed. She either pouts in rebellion or pouts in lascivious oblivion of said rebellion. She's the French Megan Fox, at an antiquated time when a novelty actress career could last for more than three movies. Jurgens is straight out of an Eddie Constantine movie and Trintignant, still inexperienced, is by far the best of the lot.Scenes abruptly fade to black after half hearted one-liners, leading to nothing but the oh-so-slow build-up of a presumably dramatic end but fear not, if you have the leisure of feeling involved between two yawns, nothing bad will happen and the status quo will prevail. "I would like to think of nothing", says Bardot, meaning herself, then she dances in front of a mirror since she only likes herself and not even that much. A couple of slaps later she's back in the marital bed; a sex Goddess indeed.Vadim and Bardot kinda invented reality TV, And God Created Woman a precursor of Temptation in the Kardashian Island. Is that worth of your time 60 years later? Definitely not, according to Vadim, whose last movie was a remake of the same, featuring Rebecca de Mornay, the American Brigitte Bardot. Sigh.

one of films who seems have a single actor. because Roger Vadim use the eroticism of young Bardot for a touching story about youth, choices and love in real inspired manner. but that option has the importance for build a large mirror of a period. the borders of an age who seems more present in our society than in "50's and that could be the key of its success today. the grace to explore the desires of a young woman looking for a strange, obscure form of happiness. Trintignan in a of role who reminds the noble characters by Dostoievsky and the Romantic idealist . Curt Junger as the lover who use his power for define his age , cruel analyzer of the others. a film who seduces. and a film who gives precise definition for an obscure state of soul.

I had never seen his film. Back in the sixties all the guys talked about Brigitte Bardot. Of course, the chances of seeing a film like this in our local theater were about nil. It's a decent movie in that we see why she was such a cinema presence. Her pouting mouth and bohemian being would be attractive to anyone in the male population. The story is certainly one that has been told many times. She is kept out of the orphanage by marrying a man who is still a child. Her reputation precedes her and he must endure the taunts of the local men, including one on his wedding day which gets him into a fight he can't possibly win. From then on her promiscuity and attraction to high testosterone carries forward. If a man fawns on her, he can forget it. Still, the guy really loves her and that is never in doubt. As this film ends, we know that the story will continue, bumps in the road.