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Brigitte Bardot unleashes colourful diatribe against Muslims and modern France

by Shermy Larent
PARIS (AFP) - Animal rights activist and former sex symbol Brigitte Bardot (news) has unleashed a torrent of venom against modern France, blaming modern art, gay culture, fast food, trash TV, politicians -- but above all Muslim immigrants -- for the country's descent into decadence.
In a new book entitled "A cry in the silence," the 68 year-old ex-actress confirms her reputation as a misanthropist of heroic proportions, interspersing vivid diatribes against most of humanity with elegiac passages about France as it used to be.

"I do not hold religious Muslims in high esteem," she concedes in her introduction, and throughout the book her deepest wrath is reserved for the "Islamisation" of France and -- her particular bete noire -- the Muslim ritual of animal sacrifice at Eid el-Kebir.

"For 20 years we have submitted to a dangerous and uncontrolled underground infiltration. Not only does it fail to give way to our laws and customs. Quite the contrary, as time goes by it tries to impose its own laws on us," Bardot writes.

"We were disturbed by their barbaric practices; we went to court; we condemned their unacceptable behaviour which left homes covered in blood, and filled rubbish chutes with skin, bone and oozing brains. To no avail!" says the activist, who has been convicted three times for inciting racial hatred.

The anti-racist group Movement Against Racism And For Friendshp Between Peoples (MRAP) said Monday it would once again sue Bardot over the book. "This work is unacceptable. It is a real call for racism, discrimination and violence," said president Mouloud Aounit.

Elsewhere in "A cry in the silence," Bardot describes those responsible for the September 11 attacks in the US as "monstrous, satanic men," and then adds:

"All those 'youths' who terrorise the population, rape young girls, train pit-bulls for attack ... spit on the police -- they are the ones who at the smallest signal from their chiefs will suddenly put us through the same kind of thing that happened in a Moscow theatre."

There are plenty of other targets for Bardot's unflinching abuse -- notably modern gays who, unlike her own dignified homosexual friends, "jiggle their bottoms, put their little fingers in the air and with their little castrato voices moan about what those ghastly heteros put them through."

As for modern art it has become "shit -- literally as well as figuratively."

"Shit has been put on show in little dry piles, accompanied by used sanitary towels and condoms, forming new millennium sculpture -- acclaimed by all the jet-set dolts, the experts, the arses, the motors of what we call fashion," she says.

In politics she likes President Jacques Chirac "as a human and a friend," and praises his stand on Iraq (news - web sites). Far right leader Jean-Marie le Pen and Trotskyist Arlette Laguiller are sincere and consistent. But the rest are "weather vanes who turn left or right as the fancy takes them."

Not even French prostitutes are what they used to be, bemoans the star of "And God created Woman."

"Our lovely, kind street-walkers have been replaced by girls from the East, Nigerians, travellers, trans-sexuals, drag-queens, bearers of AIDS (news - web sites) and other friendly gifts. Having a risk-free go is becoming a real exploit," Bardot writes.

It is time, she says, to re-open the "maisons closes" -- the authorised brothels shut down by the government in 1946 when Bardot was 11.

"All spent fluids would enjoy the medical and sanitary surveillance that is indispensible to our age -- an age in which all venereal diseases come to us borne by men and women who traffic their various orifices and contaminate those who fill them," she writes.

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