The femme fatale in film noir.

What is film noir?

Film Noir Style of film making which developed in America from the European noir films – or black films Represented increasing pessimism in society post WWII – crime on the increase Initial excitement following end of war was being replaced by fear of internal and external threats to the US

Cinemagraphic techniques Low level lighting Extreme photographic angles Chiaroscuro effects Common use of streetlight spotlighting, venetian blind shadows, half lighting on faces.

Common moods & themes Flawed hero Hero often an outsider to society Domestic rather than external crime Subjective point of view Temptation – offers of money, favour, personal gain

Gender in Film Noir

One of the most recognizable, and both loved and despised, visual representations of film noir is the femme fatale.

2 types of femme fatale: 1.Can be the male nemesis, the danger to the male 0r 2. Can be someone to turn to in difficult times - as shown by Lyn Bracken in LA Conf.

Type 1: The femme fatale represented, to some, a break down in moral values. To others she showed that women could break away from the powers of patriarchal society – but the cost of doing so was huge.

Type 2: a male image of the female, particularly the sexually- attractive female. usually a mystery woman - the façade is not the real person a symbol of womanhood and of the battle of the sexes an empowered woman using her charms and intelligence to get what she wants the equal of her male protagonist, and someone to be very wary of.

Characteristics of the femme fatale. verbally clever manipulative sexy dangerous and - maybe even lethal to men

The Femme Fatale was defined by her sexuality.

The visual style associated with the femme fatale is of shadows and silhouettes, dark underlit scenes where mirrors and reflections suggest the woman is a doppelganger or "distorted side of man's personality which will emerge in the dark street at night to destroy him" (Place, 1998, p.53).

Double Indemnity Starring Fred McMurray Barbara Stanwyck

movie stills This is a perfect opportunity to ask students to tell you the story. Who is in control? What dominant readings of gender are being reinforced and challenged?

A brief introduction to the movie.

And now to meet Phyllis.

Audience is being positioned from instant Neff drives up in car to home. House is crumbling stucco home in suburb which is now home to the suburban middle class. There is a suggestion that there was money once. Maid answers door – she is everything that femme fatale is not Overweight Common Unattractive Money pinching Concerned about proprieties of life

Phyllis is dressed in a white towel – suggesting innocence and availability. She knows, immediately, that she has found her man. She is unnaturally confident for a woman who has been caught, dressed only in a towel, by a strange man. Camera gives Phyllis the position of power, looking down on Neff, half- hidden by the railings.

As Phyllis walks downstairs, Neff’s gaze and ours, is on her legs. She is dressed in white, and is still buttoning the front of the dress as she enters – or is she about to unbutton the dress. The connotations of the dress are innocence, femininity, willingness and availability as well as control and gracefulness.

Phyllis automatically walks to the mirror, not actually looking Neff in the face. This use of the mirror reinforces the suggestion of “the other”. It also reinforces Phyllis’s utter self- involvement. Neff should heed this message – whatever she does is ultimately for her alone.

The film went into production in September of 1943 with a harshly made-up, brassily blonde Stanwyck. The blonde wig was Wilder’s idea, He used it, as he said “to complement her anklet. I wanted to make her look as sleazy as possible”.

Technical Details. Camera focuses on Neff but our eyes follow Phyllis Neff does not remove his hat when he talks to Phyllis, reinforcing the idea of male superiority In towel scene,Lighting appears to come from behind, but Phyllis’s face is softly lit Lighting downstairs is darker Only half of Phyllis is lit, but her legs are in perfect light and focus Phyllis sits in corner of chair while Neff perches on edge of couch like a predator – reinforcing construction of male dominance.

The next image we see of Phyllis is alluring and overtly sexual – what many automatically identify as the true femme fatale.

Phyllis attempts to show domesticity – suggestion that we (and Neff were wrong). But discussion moves to insurance. Film is about breakdown of family destruction of family values power of female over male

As discussion gets darker, so too does the lighting. Lighting of Phyllis’s face changes from light, bright and angelic to shadowed half-light.

Discourse of Family. Rarely young children Older husband Outwardly content Neff as an intruder – interloper into happy family

Close-ups We, the audience, get to know Phyllis quite well. We watched her face glow as she saw her husband sign the insurance forms. At times her expressions appear childlike. But Phyllis and Walter rarely look at each other.

Contrasting readings. Some argue that Phyllis smiles as she realizes her husband has been strangled. Smug grin Grimace of acceptance – that what she had done was irreversible Relief at impending freedom

No longer the temptress. Phyllis must now focus of surviving – and pulling off the deceit.

Clothing Widow’s weeds only for a day – an alluring peep hat to influence insurance investigators Workman-like – shirt and skirt Dark glasses – to hide eyes Trench coat to hide behind

It can’t be that easy.

The final showdown. Drawing room of home – showing the happy home that neither will now have. Phyllis with a gun – final attempt to take control? Soft flowing satin gown – remembering how she controlled Neff.

Lighting is soft and ethereal Walter sits on arm of chair – automatically assuming position of dominance Viewer’s gaze remains focussed on Phyllis – although she is in almost complete darkness Lighting comes up on Phyllis as she realizes her situation – and darkens on Neff Neff taking control

shadows of venetian blinds across Phyllis’s face suggest there is still a choice – prison or death – but the choice is not hers to make Phyllis starts to disappear into the shadows The camera looks down on her Viewers are positioned to feel sorry and sympathy for Phyllis – and to dislike Neff even more.

Phyllis chooses not to shoot the second time. Final close-up – she sees and accepts 2 things : Her humanity And what she has lost

An interesting closing debate: Have Phyllis ’ s actions challenged and won against the traditional masculine patriarchy by showing that women can be strong, courageous and take control of their own destiny Or Does the fact that Phyllis did not shoot the second time suggest that she was unable to take on board the responsibilities of the dominant masculine discourse, showing that women are unable to live up to the phallic demands of society?