Don Juan, or If Don Juan Were a Woman

Or if Don Juan Were A Woman In Modern Paris, if you would, and played by Brigitte Bardot, for her ex-husband Roger Vadim. I am uncertain what, if anything, Vadim was attempting to say; the mythical womanizer does not seem to gain anything by making him a woman, except for making the point that women have sexual appetites too. By the time this came out, Vadim's saucy and risque attitudes, which had been revolutionary in the 1950s, had become commonplace, even a bit dated. The only remaining point is that women could be sexual predators, just as much as men. To which I say: okay.

Vadim uses a slightly bleached color pallette for this movie, indicating to me that there is a limit to the pleasures of the body. Everything palls, after a while, and satiety does not satisfy. Or perhaps I am just an old man whose understanding of the legend is a little too secure.

One of the best film of Vadim and Bardot. Brigitte Bardot is amazing as always, and the plot is very interesting and touching . If you love French melodramas you should watch this one

I am a big fan of Gainsbourg and his two muses Bardot and Birkin, so I thought no matter how bad the film is, it cannot be that terrible and I will for sure enjoy it.

What can go wrong with Bardot playing a femme fatale?

Well, this is a unpleasant movie with a silly plot, all characters unlikable (each in their own way), and a disappointing ending.

I recommend watching it once only because of the actresses, but had not it been for then, most likely I would not had been able to endure these 95 minutes and my rating would not go beyond one star.

An erotic drama in which Brigitte Bardot plays a woman who seduces and then destroys a series of men. It was directed by her ex-husband Roger Vadim, most famous as the director of Barbarella. Quite a stylised and glossy affair, even if its not as involving dramatically as it probably should be. Still, Brigitte Bardot's in it.

Some reviewers seem not to notice the golden irony that BB, who was ready to quit acting without needing a swansong, chose a vehicle, the value of which she could not fail to comprehend, in which men commit suicide after making love to BB. She is natural and resigned to the penultimate finale of her career. Maurice Ronet acquits himself perfectly as the torn antihero. He is the perfect foil to her underplayed and subtle excesses. This film didn't need any association with Don Juan to work more than adequately on several levels. Not only does it excel in irony but also in theatrical sarcasm with the 'God created woman' embroiled in a hellish inferno in a finale of post-modern design, her nemesis entombed in what might be an analogy for shifting sands. I feel that, in life, she was always lost, this belief reinforced when we exchanged pleasantries in Cannes in 1969.