In her article “Brigitte Bardot and the Lolita Syndrome,” Simone de Beauvoir examines the potential reasons for and causes of Brigitte Bardot’s popularity, as well as the scorn and contempt she has garnered. Beauvoir claims that it is Bardot’s seemingly contradictory nature that lends itself to both her appeal and criticism. Beauvoir describes some of her contradictions, stating: “Seen from behind, her slender, muscular, dancer’s body is almost androgynous. Femininity triumphs in her delightful bosom. The long voluptuous tresses of Melisande flow down to her shoulders, but her hair-do is that of a negligent waif. The line of her lips forms a childish pout, and at the same time those lips are very kissable” (14).
Bardot is highly erotic and sexual, yet also possesses a youthful, childlike innocence. Unlike the figure of the vamp or the femme fatale, she has no bad intentions and does not attempt to destroy man. She is naive, carefree, natural, and ignorant. She does as she pleases and does not care what others think or the consequences that may arise from her behavior. However, she is fully aware of her sexuality and the allure she holds over men, and uses it to her advantage. Bardot is essentially a “child-woman,” and it is this quality that both attracts and repels. She interacts with men yet is ultimately unattainable to them, as “the child-woman moves in a universe which he cannot enter” (14). She sees herself as man’s equal, as demonstrated by her wearing of trousers and other men’s clothing, and thus challenges traditional masculinity. This both erotically pleases and excites men as well as making them fearful of being emasculated and losing their position as the dominant gender.
Beauvoir’s beliefs on Bardot can clearly be seen in Roger Vadim’s And God Created Woman (1956). Bardot’s character, Juliette, is the complete personification of the “child-woman.” From the very beginning, the film establishes her as a highly sexual being by showing her suntanning nude in public, followed by her caregiver’s intense scorn, even calling her a “little slut.” This harsh criticism mirrors that of the male audience, who although they enjoyed viewing Bardot’s naked body, believe it to be unacceptable to behave in such a manner. The film goes on to detail her numerous sexual exploits with different men and how she has complete free will, doing whatever she wants, whenever she wants. When Antoine wants her to spend the night with him, she instead stands him up and goes to Carradine, then meets with Antoine and rides off on her bicycle amidst his pleas for her to stay. Although many men in the film, particularly Antoine, believe she has bad intentions and is “designed to destroy man,” the audience sees the other side to Juliette - that she simply wants to love and be loved, and does not intend to hurt anyone. However, the film ultimately reconciles male fears in its final scene by Michel’s “taming” of Juliette and assertion of his power and dominant status over her. He slaps her for her out of control, provocative dancing and takes her home to be a domesticated woman. Thus, Vadim asserts that the child-woman cannot be allowed to thrive, for she is too much of a force to be reckoned with, too much of a threat, and must be put in her proper place as homemaker, wife, and mother.
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