![]() |
![]() |
More Spotlights: Summer 98: Alphaville Fall 98: Femmes Fatales Winter 99: Black History Films Spring 99: The Jewish Experience Summer 99: Hong Kong Cinema Fall 99: Favorite Foreign Films Winter 00: Britain's Best Spring 00: Silent Giants Summer 00: Restoring the Classics Fall 00: French Films |
Spotlight for Fall 1998: Femmes FatalesAn elegantly dressed woman is walking in the woods outside a provincial French village. She stumbles upon a nest of quail eggs, and as the camera moves in for a closeup, boldly crushes them in her fingers.
As the opening scene of Mademoiselle reveals, the destructive force of Moreau's
character is without limits (she has just flooded the stables of the outlying farms as
well). Yet it is almost impossible to imagine the femme fatale in film without also
imagining a powerful (and thus potentially dangerous) female sexuality. In Hollywood films, the seductive strength of the femme fatale is often focused on
younger men, who are considered to be particularly vulnerable Compare this cinematic representation of the older woman as femme fatale to our everyday acceptance of men loving women young enough to be their daughters, a reality reflected in film. We only draw the line at what appears to be out and out pedophilia, as in the case of the controversial remake of Lolita (1998) starring Jeremy Irons as a 50-something professor who marries a woman he despises in order to seduce her 14-year-old girlchild. (The Stanley Kubrick version of Lolita (1961), whose star Sue Lyon was too young at the time to see the film for herself, was equally controversial.) This is not to imply that the femme fatale in film cannot be a younger woman serving as the catalyst for an older man's self-destruction. Just take a look at another Jeremy Irons film, Damage (1992). But conventional representations depend on the idea that strong, independent, sexually experienced women are dangerous. And, in the case of those who have been dispossessed of any real power in the world, like abused mistress Simone Signoret in Diabolique (1955), or psychic psycho Kim Stanley in Seance on a Wet Afternoon (1964), they turn to sexual manipulation, an area in which women have always been at least marginally successful. Despite the often distorted images of women that films may present, it is ultimately up to us, as educated viewers, to redefine the femme fatale to serve our own purposes. Seen as another manifestation of the Dark Goddess (and ironically, the femme fatale in Mademoiselle is referred to at one point in the film as a goddess), her anger and vengeance directed at those who would demean her beauty, scorn her ambitions, or ignore her talents, she strikes out, demanding to be recognized as the magnificent creature she was born to be. Next spotlight: Black History Films |