Male fantasy is turned up to 11 in this one. It's a sex farce that I confess to enjoying, despite the silliness and objectification, because dear god it's 1957, Brigitte Bardot is 23, and the film has such a fun French playfulness to it. As you might guess, the film revolves around Bardot, and she is in so many scenes designed to titillate that it's comical. Let's see, there's the buxom, lusty secretary wearing a tight sweater, the girl sneaking up to a hotel to start an affair with no strings attached, the bride taking off her gown and walking around in lingerie, and the disinterested woman who can be aroused to passion with kisses on the back of the neck. She's also in a low cut red evening dress, trying to seduce another man into an affair by getting down on her hands and knees, later takes a bath, lifting her legs skyward out of the tub, runs around in a towel, and presents breakfast in bed in a shirt and apron. The object of her affections is played by Henri Vidal, and the man she pursues to make him jealous is 58-year-old Charles Boyer. He jets her off to Nice for a swim, so we see her emerging from the sea in a bikini, then dancing seductively with him in a small café. Bardot is gorgeous and immortalized in this movie, even if it is over-the-top. I might have liked it even more for going all the way in its over-the-top-ness, if that makes any sense. There are countless shots which are just fantastic, including one in front of a set of mirrors, reminiscent of Marilyn Monroe in 'How to Marry a Millionaire". I did like the open acknowledgment of affairs, which is so very French, but how the film points out they have to be conducted in the right way, with sensitivity and decorum, and the jealousy that even then may arise. It's not high art, and it's definitely not politically correct, but ooh la la, this one is a guilty pleasure.

Even more frivolous, thus less rewarding, than COME DANCE WITH ME (1959; see my review elsewhere), this is really nothing more than a Hollywood-type sex comedy (with the heroine – once more, Brigitte Bardot – forsaking true love temporarily for a fling with a suave but aging prince played by Charles Boyer, no less!) spiced up with the new-fangled French naughtiness. Actually, the movie's two halves barely jell together as we first see the central couple (the man, by the way, is COME DANCE WITH ME's Henri Vidal and, throughout this lengthy initial sequence, we also get to see Noel Roquevert from that same film) being forced into marriage after she is surprised in the hero's bed during a week-end hunting party by her father, the current Prime Minister. Eventually, the two have a row and she vows to throw herself at the first man she meets: of course, since all of this occurs at the visiting Boyer's welcome festivities, it is he who becomes her 'target'; needless to say, he is happy to oblige…while spouse Nadia Gray who, naturally, is aware of his foibles covers up for him during engagements of state (especially when he flies off with Bardot to London)! This interlude, in fact, occupies the film's latter stages and even includes Boyer being mistaken for a gangster (perhaps a nod to his celebrated turn as Pepe' Le Moko in ALGIERS [1938]) in a pub – from which he and Bardot have to fight their way out! As I said at the start, UNE PARISIENNE is basically fluff which, though good-looking per se, does not have enough substance for it to be elevated beyond that.Hollywood REMEMBERS: BRIGITTE BARDOT (TV) (N/A, 1990) ** Included on the R2 DVD of UNE PARISIENNE (1957) released by C'Est La Vie was this 25-minute pseudo-documentary about the French sex kitten. Exclusively featuring narration over scenes from a handful of her (thankfully)rarer films, these include a few that I happen to have in my collection, namely: Anatole Litvak's ACT OF LOVE (1953; a Hollywood-French co-production starring Kirk Douglas), Marc Allegret's MADEMOISELLE STRIPTEASE (1956), THE NIGHT HEAVEN FELL (1957; directed by her "Svengali" husband Roger Vadim and co-starring Stephen Boyd and Alida Valli), Serge Bourguignon's TWO WEEKS IN September (1967; with Laurent Terzieff and James Robertson Justice), Edward Dmytryk's SHALAKO (1968; an exotic Western that boasted an impressive cast: Sean Connery, Stephen Boyd, Jack Hawkins, Peter Van Eyck, Alexander Knox, Woody Strode and Honor Blackman) and her penultimate film, Vadim's DON JUAN OR IF DON JUAN WERE A WOMAN (1973; with Robert Hossein, Maurice Ronet, Robert Walker Jr. and Jane Birkin). Needless to say, Bardot's most famous films are also included - ...AND GOD CREATED WOMAN (1956), CONTEMPT (1963), VIVA MARIA! (1965) and SPIRITS OF THE DEAD (1968) - but the ones I most welcomed, personally, were those of films that are now virtually untraceable: BABETTE GOES TO WAR (1959) and PLEASE, NOT NOW! (1961)...which promises to be especially naughty and, in hindsight, might just fall into my lap one of these days! Title notwithstanding, Bardot had very little to do with Hollywood and this inadequate featurette only serves to highlight the fact that, most of the time, her star vehicles had little except her beauty and charm to commend them.

Most of the Brigitte Bardot movies I've seen have failed to take full advantage of her captivating screen presence. Unfortunately, she was given few really good roles in movies of undeniable quality, which was a real oversight. She deserved them and was able to demonstrate her full cinematic power when they came her way. As Genevieve in "Love on a Pillow" we had a clear exception to the trend of light, fluffy vehicles, for it was an interesting, artistic film by any reasonable measure, and in it, a 28-year-old BB was at her most alluring. "Une Parisienne" is another, featuring an extremely captivating Brigitte in an interesting, well-crafted comedy that explores how an ambitious lady's man can be convinced to remain faithful to an incredibly beautiful young wife. There are several good performances here. Her playboy husband, Michel, is one, "the prince," played by Charles Boyer, is another, with entertaining efforts by a good supporting cast. As for Brigitte Bardot, the way she looks in this movie is the way I remember her as a kid in the fifties. She was 23 in 1957 and way ahead of her time, more beautiful than any other actress of the period, including Marilyn Monroe. Her curvy, coquettish sexuality, amply displayed in several bosom-baring, skintight dresses, simply jumps off the screen. She was more hip and cute than the women of America are today, nearly fifty years later. Obsessed with their careers and still desperately clinging to feminist politics, they come off like a bunch of clueless lesbians. In stark contrast, the sex kitten was sexually liberated, intelligent, and clearly independent long before it was fashionable, yet while fully understanding the power of her exceptional femininity, she used it for a higher purpose than mere self-interest -- she believed in love. A still photo simply could not do her justice. You had to watch her slender yet voluptuous form (with its 20-inch waist) lightly cross a room. You had to see that wild blonde mane, gaze into her big, brown, seductive eyes, and listen as her full, pouting lips spoke French. In a closeup at the end of this movie she winks and flirts with the camera, her beautiful orbs twinkling. What a babe! For fans of Brigitte Bardot, "Une Parisienne" is not to be missed.

In her memoirs Brigitte Bardot mentions she is proud of this movie. I can imagine so, because here she fully utilizes her talent for light comedy. 'Une Parisienne' certainly ranks among Bardot's best.What makes this movie, is its slapstick - from beginning to end. 'Parisienne's' story only serves to get these effects right. Your special attention for its ending, when Brigitte irresistably invites her viewers to keep her secret a secret.When you settle on your sofa in the weekend, weary and tired after a week's hard work, 'Une Parisienne' is the right movie to make you feel better.