Once viewed, Babette Bardot is never forgotten. Tall, curvaceous, well stacked, a perfect red pout and inches of voluminous platinum blonde hair. Think of your typical hourglass-figured caricature and you’ve got Bardot, thick fluttering black eyelashes and all. She only starred in two of Russ Meyers films, Mondo Topless and Common Law Cabin, but she made one hell of an impression. And yet, I know very little about her, so tried to piece together as much as I could find to create some sort of rounded profile on the girl.
Swedish-French Babette Bardot was born in Goteborg, Sweden in 1940. She’s quoted by Meyer biographer Jimmy McDonough in his book Big Bosoms and Square Jaws as being ‘the fourth cousin of Brigette Bardot‘ although there seems to be some contention online as to whether or not this is actually true. Another fact up for questioning is whether or not she really did model for artist Pablo Picasso in her teens which she exclaims she did. At some point in the early 1960s she became a cheesecake model and was a regular in glamour and pin-up magazines, appearing in Fling, Adam and Escapade to name a few. Judging from earlier pictures of her she has at some point had a fair amount of cosmetic surgery. I didn’t know whether her breasts were real or not, and had yet to read anything that said either way, until it was confirmed for me by Diana Hart in her book Under The Mat that she’d had a boob job. Looking at early pictures and comparing them to her later look in Russ Meyers films, it’s also clear that she had some sort of nose surgery and maybe even lip fillers. You wonder whether her caricature look was one that she had intended to construct for a long time.
In the early 1960s she apparently worked on two Swedish films but I have found nothing to establish whether or not this is actually true or, if it is, what the titles were. Sexploitation director extroadinaire Russ Meyer found Bardot at the infamous Pink Pussycat on Santa Monica Boulevard, Hollywood, where she at one point had a headlining strip show (she previously used to dance before the legendary Tura Satana did her routine). Meyer asked her to appear in his mockumentary Mondo Topless and Bardot agreed, bringing some of her fellow co-workers along with her. There is no denying that Babette steals the show in Mondo, with Meyer even giving her assets pompous exaggeration; ‘French and Swedish, fifty-fifty where it counts!’. Once you see the images of her driving around San Francisco, topless, bouncing at every turn and bump, you’ll never be able to erase it from your memory. Even more so when you see her dancing and stripping off next to a train track, an oncoming locomotive in the distance and then roaring past. Only statuesque Babette would be discussing the intricacy of portraying a sexually mature woman with childlike innocence in her routines. Except that she manages to do it pretty easily, peeling off her stockings whilst sucking her thumb. My personal highlight is spotting the bruises up her thighs. Sign of a true pro, Bardot wasn’t once the highest paid stripper in the entire US for any old reason, reportedly earning a regular $2,500 a week.
The following year in 1967 Bardot returned to play a character named after herself in Meyer’s Common Law Cabin. It’s here where Babette really shines, albeit in a glow of european campness. Every line is drooled in her thick French-Swedish accent making some words have an unintentional hilarious different meaning when in conversational context (‘rich’ ends up sounding more like ‘retch’). Having said that she does have some great scenes. I am a big fan of Common Law Cabin but if you’re not convinced, give it a watch just to see her in a tiny, push up bikini chopping fire wood with a machete. Then there’s her exotic fire dance atop a mountain, complete with wailing screams… Bardot plays off against her fellow leading lady Alaina Capri really well creating a memorable performance that stands out amongst those of other Meyer leading ladies. Capri herself said working with Bardot was ‘kind of wild’ which is hardly unsurprising. Accounts give the impression that this woman had a lot of energy, which director Russ would know all about. He claimed to have enjoyed a dalliance with Babette on set, with her frequently staying in his on-set accommodation. In true Meyer fashion, he blamed the films lack of success on the fact that there was too much extra-curricular action on set…
In 1967 she also appeared in I, Marquis de Sade in a minor role as one of de Sade’s girls. I can find very little about her brief role in this but it would again appear that she was hired based on her background of stripping and dancing. This and the two films she did with Russ Meyer appear to be her only film credits.
On the back of her appearances in Meyer’s films and under the guidance of her husband Bob Baker (her manager and leader of the small band that accompanied her act), she toured the US as a burlesque dancer in 1968, having shows at the Gayety Theatre in New York City, the Town Theatre in Chicago (of which I managed to find a photo essay of one of her routines in which she looks gorgeous) and the Colony Club in Dallas. Bardot toured the burlesque circuit internationally until she set up a residence at the Majestic Inn in Calgary, Alberta. The liberal laws in Alberta allowed her to strip completely nude, although she would maintain her thong during performances. She performed there nightly for six months before heading to Las Vegas where she not only danced but also sung. She also managed time to fit in another night with Meyer… and none other than Uschi Digard. One can only imagine the amount of breast on show that night (Tura Satana once said she was knocked out when she bumped into Bardot in Vegas in the 70s having not seen her since her early Pink Pussycat days, her words ‘silicone does wonders’ pretty much sums up the interaction).
Whilst in Calgary she became friends with the legendary wrestling family The Harts through wrestler Andre The Giant, a regular at her shows. In the early 1970s Bardot and her family, which by this point included two children Bobby and Bianca, would travel to Calgary yearly to perform at the Majestic Inn where she would perform a lunchtime show and an evening show. During this month they would stay with the Hart’s in the big family home. In 1973 Stu Hart billed her as Miss Stampede Wrestling (the wrestling promotion he ran) after spotting her popularity with other wrestlers he worked with (she was also friends with Terry Funk and Dan Kroffat) but it was always Andre at every one of her shows sitting in the front show. Apparently he was reluctant to miss any of her performances and would sometimes turn up late to bookings that Stu had arranged for him because he’d been to see her. Word on the street was that he secretly held more than a flame for her. Bardot appeared at many of the Stampede parades, regularly riding with the wrestling clan on their float. One summer, the horse she was riding on buckled after the float in front of it stopped and Babette was thrown into the road. Apparently in tears in a heap on the floor, she still managed to let her bulging cleavage show to the crowds supposedly embarrassing a young Owen Hart. As Miss Stampede Wrestling Babette also had frequent appearances on the Stampede Wrestling TV show, handing out awards, title belts at wins and greeting big name stars to the ring.
The last known appearance I can find that she did was in 1981, where she headlined the Babette Bardot Review at the Kings Inn Motel in Daytona Beach. It would appear that she passed away at some point in the early 00s. Tura Satana herself suggests on one online forum that Bardot remarried at some point but that her new surname wasn’t known to many people, including her, which renders much information seeking redundant. It’s a real shame because I would have loved to know where this enigmatic woman found herself after 1981 and what she was up to at the time. By all reports she was a lovely lady and left an impression on all those she met, as well as all of us Russ Meyer fans.