That was an excellent one.

A Disappointing Continuation

The film makes a home in your brain and the only cure is to see it again.

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

A generic title ,which could fit countless other movies whose heroine is a Parisian;a screenplay the standards of which are simply what the French call:"Théatre De Boulevard ":run of the mill stories of wives,husbands ,lovers ,cuckolds ,with a dash of "Roman Holiday" in reverse for good measure.Brigitte Bardot acted naturally ,with a drawling voice and a roguish look ,and this "Petit Je Ne Sais Quoi " which made her THE greatest French sex symbol of all time;she did know she was hot and very attractive but she did never take it too seriously;she already showed her love for animals in the scene when she pampered the dog;Charles Boyer was aging at the time and was too old for a prince charming.As for her hubby in the film,Henri Vidal,this is one of the saddest stories in the history of the French cinema:addicted to heroin since he was 17,although he tried detox ,he had only two years left to live ;he was to meet again BB in "Voulez-Vous Danser Avec Moi"with the same director (Boisrond), his final role (1959).

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.

A sparkling movie. BB is a marvel. She's sultry. She is a feminist. She is still very much in love.The movie features Paris in the 50's. It is wonderful to look at the sites, the cars (DS!) and Orly.A simple but very enjoyable romantic comedy. The music is horrendous. It almost dissonates. On the other hand it is hilarious. But it is probably the only thing amiss, at least looking at it with 21st century eyes.The movie comments on the French manner of treating infidelity. It is that sense modern. A movie like un elephant se trompe enormenent did it in an 80's way. But the basic premise stays the the same.Thanks to makers for providing BB with this opportunity.

Brigitte Bardot sparkles in this lighthearted romp with Charles Boyer and looks great as always. Although I prefer her dramas and melodramas her romantic comedies are a filling dessert. She seems comfortable, relaxed, and appears to be having a fine old time. Boyer is always charming and an undervalued actor for many years.A 6 out of 10. Best performance = BB. The music is annoying, especially the opening, but the color is great. All Bardot fans should seek this out (just for fun). I think Bardot is under-rated because few of her films are GREAT ART, but she holds her own with anybody and was always a treat for the eyes as well.