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Bardot, a confiscated life

In 1960, a photo of Bardot was negotiated at gold prices.The actress is all the more sought after by reporters that she rarely shows off.An informal scale fixes the rating with several newspapers.A photo of his splenetic face is much more expensive than that of a fulfilled bardot."She had to be sad, it was in great demand," said Raymond Depardon, who then began his career as a photographer.Except that Bardot's sadness is not available.She is never for sale.

At that time, Jean-Marie Périer is 20 years old and he was not yet the photographer of musicians and singers of Yéyé years-he will be the companion of Françoise Hardy.With another trainee, he is charged by Roger Thérond, the boss of Paris Match, with an impossible mission: to surprise Bardot in tears. Jean-Marie Périer et son comparse restent stationnés six semaines dans leur voiture, jour et nuit, devant l’immeuble parisien où réside l’actrice, au 71, avenue Paul-Doumer, dans le 16e arrondissement.They won't even see his shadow.

Disappointed, the photographer goes to Louveciennes, in front of the Norwegian chalet of Brigitte Bardot's parents.Miracle, the star appears."She heads for the forest to walk peacefully," recalls Jean-Marie Périer.I am.She doesn't see me.Behind her back, she surprises my breathing.Suddenly she turns around, in tears.I am grasped by her face, I press quickly on the trigger, I apologize to her and I go running."The career of paparazzi of Jean-Marie Périer will go no further.

Lire cette interview de Louis Malle en 1962 :Article réservé à nos abonnés« Brigitte Bardot me parait être le symbole de l'inadaptation de nos vies»lle en

Bardot, une vie confisquée

The photographer unexpectedly finds Bardot, a few weeks later.He visits his mother, actress Jacqueline Porel, on the set of truth, of Henri-Georges Clouzot, in which she interprets a lawyer.Bardot sees the young man, giving him a sign of his hand so that he approaches and launches to him: "I forgive you."After the tough treatment inflicted on her, the actress lowers his guard, she has no more tears to offer.

Besides, a year later, she no longer cries.She's screaming.Director Louis Malle and his screenwriter, Jean-Paul Rappeneau, have an appointment with her at the home of producer Christine Gouze-Rénal, rue Campagne-Première, right next to Boulevard Montparnasse where, a few months earlier, Jean-PaulBelmondo staggered then collapsed, dead, at the end of a breath, Jean-Luc Godard's first film.The producer wishes to associate her friend Brigitte with Louis Malle, a rising star of La Nouvelle Vague since elevator for the scaffold (1957) and Les Amants (1958).She thinks of the adaptation of a successful piece of the British playwright Christmas Coward, private lives."It's perfect for her," says the producer, she has to return to ingenuous roles.»»

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