ABSTRACT Departing from the directorial focus of debates about the Tradition of Quality, this article examines stardom and performance as central to late 1940s and 1950s mainstream French cinema. Authorship is not discarded but understood as a power dynamic in which directors and performers, alongside other contributors, struggle for control over characters and narrative. The article first establishes the main elements of quality performance, building on André Bazin’s concept of cinéma théâtral. Examples, drawn from major stars (Fernandel, Pierre Blanchar, Pierre Fresnay, Jean Gabin, Edwige Feuillère and Michèle Morgan), highlight the crucial importance of elocution and language, a dimension of performance that is often neglected. The article then focuses on Brigitte Bardot in two quality films, En cas de malheur/Love is my Profession (Claude Autant-Lara, 1958) and La Vérité/The Truth (Henri-Georges Clouzot, 1960). B.B.’s iconoclastic image and her departure from prevailing notions of ‘good acting’ provoke a ‘dissonant’ performance, which illuminates further, by contrast, the Tradition of Quality’s acting norms. Conversely, Autant-Lara’s and Clouzot’s variously successful efforts to blend Bardot seamlessly into quality aesthetics betray their wish to modernise their cinema at a pivotal historical moment when the Tradition of Quality was under assault from the emerging New Wave.