It ' s almost impossible for someone to define what is a film noir so I will just try to describe it, rather than define it. Personally speaking, a film noir can be described as more of a sense of a mystic atmosphere than a “ type ” of filming. Boarding the borders of what is characterized as film noir, I would say that it is a “ dark film ” . Literally, film noir means “black film ” in French, and the main reason is perhaps because of it ' s melancholic atmosphere. Totally depicting the almost “ doomed ” period before the World War II, the film noir was a depiction of a sinful story under the shadow of alienation, moral corruption, double-crossing, guilt and evil. In other words, one could say that “ film noir ” is the depiction of the underworld, with it ' s main characters focusing on the figures of detectives, gangsters and, of course, the anti-heroin of “ femme fatale ” .

This stereotype is being described in this specific essay, on an attempt to figure out how it has changed throughout the three periods of “ film noir ” from the " 40s until today.

Mostly though the main question is why the stereotype figure of femme fatale has survived as one of the most desirable film characters. In this essay I will attempt to present that this specific figure has influenced the women " s way of “ acting ” today in their everyday life, or even better the way women today want to be seen.

For this reason, there will be presented and described three representative movies from each period. From the classic one of the " 40s- " 50s is the “ Out of the past ” of 1947, with Robert Mitchum and Jane Greer, in the leading roles, directed by Jacques Tourneur. The second movie from the neo-noir period of 1960-1970 is the 1964 ' s film “ The killers ” with Lee Marvin, Angie Dickinson and Ronald Reagan, directed by Donald Siegel. Last but not least, the nowadays film noir cinema will be represented by the “ Basic instinct ” of 1992, with Michael Douglas and Sharon Stone under the direction of Paul Verhoeven.

The reason for these movies being selected is mostly because they depict in the most suitable way the figure of the femme fatale. The anti-heroin of femme fatale presented in the above mentioned movies, define the power and the way social changes affected women ' s role. Personally, I believe that these movies show the ultimate feminine strength that affected the men ' s almost “ weakness ” to rule them. Men are toys of the femme fatale ' s irresistible allure. It ' s a game of the women ' s power over the men. Even though the latter believe, that they can finally conquer them, still, they cannot. But in the end men are captivated by this untouchable “ dream ” . This, though, will be analytically presented and explained later on.

Instead of an Intro

Why would someone though, be interested in a stereotype that exists for so many years in cinema? Would it be easier if we just let it be? What if this specific stereotype would be in fact the pattern of the modern woman? Could this be true?

Lets commence by saying that a modern woman wants power, money, credit for her work, and of course, the absolute freedom. Man, on the other hand needs to be the master of the game. He wants the same things. So what is the solution when a stereotype is a “ man ” in a woman ' s body? The ultimate embody of the two sexes find their answer of that timeless question on the figure of femme fatale.

One of the “ bad guys ” of the film noir is in fact the guy, all people want to became or to reign. In this specific essay I will attempt to enlighten this character that I think, it affected the most, the way people are acting today in their every day life. Even though there have been many decades since the first " invasion ” of the femme fatale " s stereotype in cinema through film noirs, my guess is that now we can almost clearly see the results of this figure in real life.

Starting back from the 40s I will try to prove that nowadays real characters have been in a way subconsciously formed under the veil of a femme fatale. Always getting what she wants. And always want more than she can gets.

The Selection of the Movies

The main reason for choosing these three specific movies is that they all have to do with a “investigation ” style story. In particular, there is a sort of battle between the main character of a detective/killer and the anti-character of the opposite field - the femme fatale. The common point on these three movies is that, the mystery that the detective/killer tries to solve is the one that the character of femme fatale secretly hides from him. And all this mystery has to do with unsolved cases of the past that arise in the present out of the blue, looking for their finale solution. There is a saying “ No one can escape of his past ” and that is exactly what these films share.

As far as the male/female peculiar couple of characters is concerned, the main intriguing point is the contradiction between them. And that what makes them interesting. Two totally different worlds live and act in a same parallel. The underworld of each era. The battle between the legal and the illegal, constantly changing positions. The immoral femme fatale stereotype and the moral detective/killer colliding in the dark universe of the underworld. The peculiar in this case is that the male character has to give up his morality and follow the dirty paths of the femme fatale. While at the same time the immoral female stereotype bears her own legal style in a corrupted world. They both fight against all their personal and social norms, trying to achieve their own personal goals: the femme fatale to keep her secrets sealed and the detective/killer to solve the mystery. The main point though, is that the only mystery that a detective has to solve is the femme fatale ' s one. More analytically, one could claim that the main mystery in the film noirs is the femme fatale stereotype itself. For the hero, on the other hand, it is almost « unacceptable » not to solve a mystery and on that point they run against each other on the opposite sides but on the same field. It seems as a paranoia but it ' s a matter of love and hate. A situation from which no one can escape or survive, at least totally unscathed.

In these three movies, though one can see the changes of the stereotype of femme fatale throughout the years. The effects of the social changes have almost enforced this specific figure to “ compromise ” in a way with the necessities of each era. Or even better to evolve in certain periods.

Some Basic Thoughts

In the first movie the femme fatale seems to act like a victim in order to seduce the detective. She usually uses her feminine “ innocence ” to persuade him. On the contrary in the last one, the “ Basic Instinct 1 ”, a femme fatale does not have that need. Instead, she uses her ultimate feminine power to make him believe her. That ' s the main difference that society « imposed » in the femme fatale figure. The woman is totally independent and now she is using her strength to impose herself. That specific change occurred in the early 70 ' s and specifically with the feministic movement.

From now on, women ' s position would never be the same. From the 70 ' s since now the stereotype of femme fatale stands for herself. In the same way that women gained their position in the industrial world by taking part in the labour society, the “ new woman”achieves her goals in the contemporary consuming society.

All these changes are in fact the “ relics ” of a post-modern society overwhelmed by riots, revolutions and confrontations. And probably that ' s the main reason that film noir and the stereotype of femme fatale managed to survive in cinema. The cynicism and the corruption of contemporary society are totally depicted in the film noir.

The Birth of Femme Fatale

The first appearance of femme fatale lies back in the early 40 ' s. The eruption of the World War II called for men to enrol in the military service. That automatically meant that the industry world would come into a decline unless there were found people to fill in them. These people were the housewives of the 30 ' s who in a way were forced to take up the men ' s position in the industry. This evolutionary “ themes ” were the first steps for women to chase their own lives and finally a brand new role in a man ' s world. The previous stereotype of the housewife, who was raised by her family with the only goal to take care only of her family, was now substituted by a dynamic, independent woman. This revolution is known as the “ Rosie-the-Riveter ” syndrome.

When men returned from the battlefield, they had to face the new reality of women no longer been weak and dependant on them. This new stereotype, although a bit weird at the start, gave men the chance to start wondering about the primitive archetype of “femme fatale ” . The independent, strong, desirable woman that could achieve anything she wanted. And the new woman was almost fulfilling that “ dream ” .

That was the “ birth of femme fatale ” . The strength was lying on her sexuality. On her power to achieve by actions whatever she desired. Almost a new “ vamp ” deadly woman from the 20 ' s movies but on a human body. The femme fatale stereotype was a necessity for that era exactly because the world needed a powerful “ substitute ” to replace the soldiers. So this specific figure won the need of the world to keep on moving. And in the same way that this figure appeared in the everyday life, in the same way it invaded in cinema. The time was better than the appropriate one, since a new “ genre ” in cinema was starting its own journey. The birth of film noir “ collided ” with the birth of the femme fatale stereotype.

The character of a dangerous, powerful, dark woman ruled in many film noir movies, in the sense that film noir ' s main feature was the underworld of shadows and mystery, and the femme fatale could more than anything fit in a world of double-crossing and seduction.

An Introduction to the Femme Fatale Figure

A femme fatale is mostly defined as “an irresistibly attractive woman, whose purpose is to allure and seduce a man in order to make him commit a murder or some other kind of crime”. Always mysterious, manipulative, and simultaneously, gorgeous and unbearably desirable, the figure of femme fatale in film noirs, have a sinful past, a self destructive present and an unknown future. This ambiguous, but still marvellous, figure of cinema has rejected the usual and commonly accepted norms of society on the grounds of family life and housewife. Being almost the definition of corruption and danger, though always leading an independent way of living, a femme fatale sets herself on the edge. There is the spot where she always finds her victims. In the shadows, in the dark, almost always in rainy black and white nights at the notorious areas of some cities, the femme fatale needs no more than a look to make her next unsuspected victim struggle for the rest of his life between the good and the evil.

This anti-heroin, with the mysterious, usually totally unknown or vague past, is supposed to be one of the bad guys. For me, is one of the necessary figures in cinema. An ambiguous character of film noir, not only following her fatale mistakes, but even drugging her co-protagonists with her, into a predestined, destructive ending. The only difference is that a femme fatale usually seeks for this ending as a remedy and a way out of her self-destructive life. In fact, as a “ catharsis ” like in the ancient Greek tragedies, trying desperately to find her personal freedom. Though on the other hand, her victim is unaware of the consequences of following her in the dark paths, she always leads him.

Constantly using her sexuality to gain power, a femme fatale is a dark, almost sadistic figure which takes advantage of her protagonist ' s weakness to save herself. Pecan past, no repentance and ruthless cunning are some of the main characteristics of the stereotype of femme fatale in film noir.

The evolutionary femme fatale through film noir:

The Classic Period: “Out of the Past”

The classic period of film noir began in 1941 and reached its pick in 1957. A period totally effected by the results of War World II. As shown above women had to be in charge for the period that men were serving the military. That was their first win in the battle between the sexes. Now they could ask for more.

“Out of the past ” is a perfect example for the femme fatale ' s character of the early 40 ' s. Kathy Moffat (Jane Greer), a woman that steals 40.000 “ grants ” from her gangster boyfriend (Kirk Douglas) is been missing. The detective Jeff Bailey

( Robert MitchUm) is hired to locate her and bring her back. But the story changes when he falls in love with her. After a series of adventures and unanswered questions, he realizes that he is the victim of a well organised frame up. And that ' s a mystery he has to solve on his own, no matter how it will cost him. The only person that knowS all the secrets is the “femme fatale ” that he loves.

The first appearance of the femme fatale figure in this movie is when she comes in the “ La mar azul ” bar in Acapulco Mexico. Seductive looks, dynamic way of walking and a cigarette as soon as she sits are the primal characteristics. “ I don ' t want a guy ” is her “ clincher”line to the detective. A line that shows more than anything her independent and powerful character. She acts like a man but looks like a gorgeous creature, almost having fallen from heaven. She does not care about social norms but instead she is the one that all the other “ leftovers ” of the housewife figure envy, if not hate. She takes initiatives and refuses to settle. Seducing the main character is not difficult though he is a sensible, strong man. The mystery that this woman carries makes him almost blind, able to double- cross, not only the man that hired him but his partner, too. He has already crossed the line between the good and the bad but he no longer cares as long as she is with him.

The figure of femme fatale is strongly shown in this film in the scene at the cabin that the two heroes meet. The detective ' s partner has followed him after the double-crossing and a fight between them is not a surprise. Then she looks at the detective and tells him “ Why don ' t you break his head, Jeff? ” . The two partners start to fight over her when she overtly kills the detective ' s partner. “ You wouldn ' t have killed him “ she says with no guilt, when he asks the reason.

But the detective himself can ' t understand what is that, that this woman has and magnetises him so much. Making him unable to act sensibly. This is ultimately shown when he says “ There was still something about her that got me. A kind of magic, I don ' t know ”. That ' s exactly the main point for the femme fatale ' existence and strong presence in cinema. They all wonder what does she has and makes people forget their personality.

The Battle Between the "Good"' and the "Bad" Woman

What makes the femme fatale even more irresistible is the comparison with the innocent woman ' s feature. The former housewife ' s stereotype is depicted in this movie by Anna. The immoral past and the rightful present of the detective ' s life makes the femme fatale an everlasting stigma. His girlfriend Anna is loyal, honest, kind with an innocent face and a pure heart. Always admiring his decency and power. Always depending on him and looking high on his way of living. Even admiring his secret past and promising to be always there for him, no matter what. She refuses to believe, that he has committed two murders, when they are trying to frame him, and she tell him “ Everything you say to me I believe ” . The absolute loyal figure of a kind woman that follows the social stereotypes and norms. Her only sin is that she loves him and in a way disobeys his parents orders to keep on seeing him. She even accepts his love for Kathy when he almost admits that he still thinks about her. She forgives him everything a long as they can be together.

On the other hand, the femme fatale is her opponent on a war to win the hero ' s heart. A war that is totally uneven. The powerful and alluring femme fatale owns his heart even if they are not together. She will always win the stereotype of the kind woman maybe because the adventure she offers in the hero ' s life is more interesting and passionate than a simple way of living in a “ small house on a lake ” . Even if the detective claims in the beginning of the movie that the only thing he would wish for is to marry the kind Anne, in the end he leaves her for the intriguing Kathy. It ' s above his power to act in another way. Even if he has feelings for Anne, he would never refuse the mysterious Kathy.

The conflict between the good and the bad in the women ' s character raises in the end of the movie when Anne forgives him, when she asks the boy that works with him if the detective was about to leave with Kathy and he nodes positively. He has abandoned her for a woman that killed him. And that makes the comparison even harder. The femme fatale shoots him when she has to confront the police. It ' s her only way out to survive but like in ancient Greek tragedies the catharsis comes with her death by a policeman.

That ' s one of the great differences between the first femme fatale stereotype of the classic period and the ones that followed. This early figure had to die in the end, in a way that would be an example / punishment, since the society was not ready to accept her “victory ” in the end. The audience had accepted her as a character in the cinema but it was too premature to deal with the fact, that this specific stereotype would have win over the loyal and moral housewife ' s model. There had to be a sort of “ payback ' time for her. She had to be punished for her sins. That totally changed throughout the years since society learned and mostly accepted the fact that “ bad guys ” do exist.

The Neo-Noir Period: “The Killers”

The 60 ' s and the 70 ' s is an era stigmatised by the war in Vietnam, social revolutions, conflicts and democratisation of nations. A period of sexual liberation and woman ' s emancipation. On that path, the film noir movies had to step on and evolve, on grounds that seemed even like “ nostalgic memories from the past ” . A past that now was formed in a post modern frame of commercialisation and cynicism. The former sense of black and white rainy small places where in a way “ replaced ” by a more aggressive and violent scenery of shooting and craven for money. Corruption in a society that was experimenting in the dangerous filed of “ putrescence ” . In a period overwhelmed by political, social and economic crisis, the film noir movies “ attached ” their themes on this atmosphere.

“ The Killers ” is a film noir of the so called “ neo - noir ” period of cinema that depicts exactly all those neo- liberal figures. The female figure of femme fatale, the “ satanic”woman is more liberated and powerful. She is not afraid to “ go for ” the big business. And the only way to succeed is to seduce the protagonist, a car racer named Johnny North.

Sheila Far, performed by Angie Dickinson, is an unconditional woman, who gets whatever and whoever she wants, without considering the costs or the potential consequences. She curves for power, money and success. She is Jack Browning ' s girl (Roland Reagan ' s last performance in cinema). A gangster living out of stealing. When he want ' s to do big business she is the perfect catch for the unsuspected Johnny North. With her alluring and irresistible way she makes him fall in love with her and in the end be a part of the “ colpo grosso ” . After seducing him she persuades him to steal the money from the gangster so that they can spend it together but that is just another trap that he falls in unconditionally. This is the story that two killers, performed by Lee Marvin and John Cassavetis, are trying to solve when they are hired to kill Johnny North. The victim is dead but 1 million dollars is missing.

The femme fatale stereotype in that particular movie is no more a dark woman hiding behind a man ' s power. She is attractive and aggressive. She is more active and her key-point is her sexuality. The sexual liberation of the 60 ' s has find her “ representative ” . The femme fatale exposes her sexuality and takes initiative when it comes to the game of power. She knows how to act without fear and hesitance. She is not just a pathetic creature of the 40 ' s, that functions in the background. Now she has her own place in neo-noir films, she is a leading main character.

She is more of a “ boy scout ” , loves action, danger and winners. In one of the beginning scenes Sheila turns to Johnny and tells him “ Do I make you nervous? ” . Later on she responds “ nothing scares me ” . These two lines show exactly how the character of femme fatale has altered in comparison to the classic era. The “ retro ” style of the first period has been transformed in a new “ fast and furious ” way of acting.

Her manipulative way is totally represented by her line “ All my life I was around losers. I need winners. ” And that " s exactly was she is going for. The typical of the, sort of , neo- femme fatale is that she always says what the male wants to hear. More liberated and with a provocative manner, she keeps on betraying, not only her first victim Johnny North but even the gangster/lover in order to rescue herself. The last scene of the movie is typical of her reaction. Lee Marvin eventually reaches to the end of the mystery and finds them. When he tries to kill her she turns to him begging for her life and says “ Please. I didn " t want to, he made me do it. I had no choice ” . Even in the last moment, she desperately tries to save herself by double crossing her “ official lover ” .

But even though society of the 60 ' s and 70 ' s had already experienced betrays and unsolved mystery stories, still it was not the right timing to accept the femme fatale stereotype winning in the end. That " s one of the things that remain the same as back in the early days of film noir. There has to be a catharsis. Her been killed by the assassin is the only way for the cinema to be “ safe ” .

What Has Changed?

Generally speaking, the neo noir films of the 60 " s and 70 ' s had as main theme shooting stories with gangsters, stealing and gambling. The neo femme fatale, always on the bad guys ' side, is more commercialised. She is “ engulfed ” by the over consuming new society and leads a more cosmopolitan life. Money, jewellery, expensive clothes are some of the typical points of the femme fatale figure in neo noir period.

Nonetheless, a basic difference at the neo noir films is that even though the stereotype of femme fatale has been established in cinema as a main character, in this particular era there are not that many films with femme fatales. Peculiar as it may sound, the stereotype of the satanic woman had her own place in the cinema but still a small amount of movies to be in.

That is maybe one of the consequences of the 60 ' s -70 ' s disturbed period of worldwide political crisis. Cinema was more interested in exposing political scandals, awaking people on matters concerning the war and the social being. But even on a " restricted " area like that there has been a major change. The neo femme fatale is no longer in need of an opposite female stereotype in order to stand on the screen. She has her own place and she does not have to participate in a “ good vs. bad woman ” debate to earn her role. She is the evil, diabolic and manipulative woman with no comparisons. The new femme fatale has been introduced herself to the new era of industrialised world where money and power are the key - words. Romance, even in a pervert way that a femme fatale can express it, has surrendered and given its place to possession and contention.

Contemporary Film Noir: The 80s Until Today: “Basic Instinct 1”

Contemporary cinema , always inspired by society, is characterised by the human curve for sex. The ultimate liberation of sexual taboos on that period is now established. Everything has to do with sex and power. Taking but not giving. Homosexuality is no longer a disgrace. Unconditional almost fetishist sex, with no restrictions, boundaries and shame is the main point. Exclusiveness in love has been replaced by constantly altering lovers. The disclosure of a new disease, called AIDS, shows exactly the wide range of sexual revolution that began in the 80s and still has not found its pick. Drugs, sex and “ fun ” are the new characteristic of the contemporary society.

The culture of consumption, that has began in the 70s, now has to do with a sort of “human consumption ” . Style, attitude and the way of looking are the basic representatives. Being cool, fancy, and all these in the most sexual way. Sexuality that is no longer hidden under insinuations and narrations but ultimately exposed on the screen.

Nonetheless, the invasion of psychology and psychoanalysis as the new trendy tendency of the 90s has influenced the cinema of the new period. The new film noir is still detective stories and unsolved mysteries but now they have to do with the way a pervert mind works. It has to do more with exploring a pervert mind rather than discovering a well hidden story. One could possibly claim that the only witness to the unsolved and still unrevealed secret is the mind rather than the eyes.

Under all these social changes, the 80s were the perfect timing for the femme fatale stereotype to disclosure itself. Having already a long past, now it ' s the time to regain its almost former glory. But now the chance is even better since the social norms have been altered so hard that the femme fatale does not need any excuses. She acts for herself without having the necessity to be forgiven by society. And the most important thing is that in contemporary cinema the figure of femme fatale can survive. Now the society is ready to let her be. But still when did she care about it?

The Revenge of the Femme Fatale

The brutal, evil, obsession, and almost “ animal ' instincts with no fear, regrets or guilt are the characteristics of the femme fatales in “ Basic Instinct 1 ” . The main difference on that film is that there is more that one diabolic and dark female figure. The “ epic ” thriller of the 90s is the revelation of the femme fatale in a period where sex crimes were the favourite theme of this era ' s cinema. Seduction is her ultimate weapon and she knows how to use it, driving her male protagonist, insane.

The writer Catherine Trammell (Sharon Stone) is getting involved in a murder of a famous rock star. The unsolved mystery of sex, drugs and rock n ' roll is a case to be solved by detective Nick Curran. A detective, known as the Shooter due to his fatal mistakes of the past, deals with his personal drama of being aggressive, former drug user and alcoholic. To solve these he is forced to be under psychiatric surveillance by her former lover Dr. Elizabeth Garner, performed by Jeanne Tripplehorn. A series of accidental coincidences that have to do with murders will lead him to the conclusion that the famous writer is a killer. But he can ' t resist her seductive charm and falls into her trap. While investigating, he realizes that his personal life is a part of the game that he plays between the writer and the psychiatrist. Lesbian lovers from the past and an obsession story of the ex Lisa Hoberman, present Dr Garner, for Catherine Trammell will lead him to an inane labyrinth.

The First Femme Fatale

The main figure of femme fatale in Basic Instinct is the main suspect, Catherine Trammell. Wealth, drugs, unconditional sex and a girlfriend are the basic characteristics. Strong and powerful, the ultimate female figure, the untouchable dream of all men, even though she is the main suspect for murder, make her irresistible to everyone. She does not care about feelings, norms, restrictions. The only thing she wants is sex. Her aggressive but still calm attitude makes her the master of the game. She totally exposes her sexuality, and now nudity and pornographic scenes are a part of the film. The weird plot of the movie swaps between her innocence and her guilt. In the beginning all the incidents lead to her being the main suspect of the murder and she in a way, encourages, though denies, having committed it. “ It teaches you how to lie ” she says to the detectives when they ask her about the book she writes (totally depicting the murder) just before the interrogation. “ I like men who give me pleasure. Games are fun ” is her respond when they ask her about her sexual life. No fear, no stress, no regrets. Mere sex, usually kinky and violent is her way of presenting herself. She plays with the detective ' s mind and though he is not an easy victim, he totally surrenders.

… and the Second Femme Fatale

One of the main differences in the film noir movies of the last period is that they can have more than one femme fatales. The “ Basic Instinct 1 ” is a movie where this specific figure is obvious. The liberated, non-conservative contemporary society of the 90s is ready to accept more than one “ bad girls ” . The second figure of femme fatale in this movie is the ex-girlfriend of Catherine Trammel (Sharon Stone), named Dr. Elisabeth Garner, that now works as a doctor in the police. And that is a great « abnormality » and contradiction in the movie. A totally intriguing point for the plot. In fact, I would claim that this female figure is the main femme fatale of the movie.

She used to be obsessed with her former lover and classmate in college and after having restricted orders against her, she decided to change her name. So Lisa Hoberman, now became someone else. New present for a secret past. The first time that we can understand her character as a femme fatale is when the detective Nick Curran investigates her past. He figures out that her ex husband had also died in unclear circumstances some years ago. That ' s maybe the first attempt of the screenplay to focus on her as a femme fatale. Her dark past is one of the main “ stigmas ” that betray her as a lethal woman.

He is absolutely revealed of her deadly character when she frames and eventually kills “cold blood ” a colleague of hers, when he starts to dig up her past. But catharsis is inevitable and she is being killed by her ex lover and main hero of the movie performed by Michael Douglas. Some of her main quotes in the movie, while trying to persuade him that Catherine Trammel is a murderer, show her remorseless way of acting. But I will focus on “She seduces people, she manipulates people. ” , “ she ' s evil, she ' s brilliant ” , which are her lines to Michael Douglas when he asks her about the mysterious stories of her past and her relation with the main suspect. Her ruthless way of attempting to put the blame on Catherine Trammel by totally distorting their past together in the college is once again one of a femme fatale ' s “ hidden ” cards to win this battle of survival.

… or Maybe even a Third One?

The paradox in “ Basic Instinct 1 ” is that one can find even a third femme fatale in the movie. That is the character of Roxy( performed by Leilani Sarelle), Catherine ' s Trammel lesbian lover. Even if her part in the movie is small, you can see that she acts as a genuine femme fatale. She kills herself on an accident while trying to kill detective Nick Curran because he stole her lover. Ruthless and deadly, even though a bit clumsy and not a winner in the game of survival or reign. I would call her a femme fatale , or better a potential one, since she really walks a path of mystery and darkness. She attempts to murder the man that is on her way, even though not successfully. Her only weakness is that she lets her jealousy reign her mind and that is what leads her to her death. She has all the potential to became a great femme fatale but maybe three deadly figures would be too much, at least for one movie.

Femme Fatales Fulfill the dream?

The main thing in the femme fatales of the “ Basic Instinct 1 ” is that even though the society was ready for them, still there is no much room for all of them. One can conquer the story but two are more than enough. The basic characteristic of the femme fatale of the new age is that she ultimately represents the modern human being. Selfish, cruel, ruthless, aggressive. A true hunter. Never cares about anyone or anything. Willing to do what it takes in order to succeed. All these figures are those that represent the contemporary way of acting. In a society where we are tough to step on others in order to achieve our goals, to do anything it takes- no matter how irrational or wrong this is- the stereotype of femme fatale is maybe the only “ normal ” character. She is the ultimate representation of contemporary ' s needs for success and survival. It may sound weird- even stupid- and maybe some will stand up and scream that that ' s not the way people are taught to act today but at least that ' s what most people try to do. Money, personal success, drugs, mystery and unscrupulous methods are what a femme fatale is made of and nowadays, society “ offers ” her all the opportunities to do so.

I would dare to claim that maybe that ' s one of the main reasons that the stereotype of femme fatale is so “ wanted ” up until today. No one wants to be a looser. No one wants to be the victim and definitely no one wants to be seen as the background character of a hero's life. We all want for ourselves to be dominants, masters of the game and femme fatale is the master.

Our society today calls for total commitment to ourselves. Ultimate devotion to goals of wealth, luxury and power. In a world where people are counted as figures, on how much they cost or not, femme fatale will survive. And that ' s because she knows how to get anything she wants to. That ' s why contemporary world is the revenge of this specific stereotype. She can exist in cinema- let alone in everyday life- as a totally desirable character, no matter how lethal she may be. That intriguing characteristic is the paradox and, simultaneously, the explanation of the stereotype of femme fatale. And that ' s probably why people love and hate her so much … .

In addition, the last period of film noir movies, and especially the nineties , totally permitted to the femme fatale stereotype to go in front, to move to the fore of the story. Strong women do exist in reality but in cinema they are not that fascinating if they don ' t have an exciting but always mysterious past.

Masculine Side

Living in a man ' s world it was inexplicable for them to be something less than a woman. It's not socially racial, but more of a human reaction when loosing power. In the same sense, a man could never just admit that he is the victim and he can surrender to a woman, even if she is a femme fatale. The male protagonist is provoked to solve the mystery that she carries and that ' s exactly why he lets himself been allured so easily. Men are supposed to be the strong sex and when this power is being threatened, they have to find a way to get it back. The only way is to follow the femme fatale and reveal her. In fact the only way is to “ read ” her, to be able to make her " easy " to be understood, simple just like other women.

The paradox in the man ' s case is that even though they love the mystery a femme fatale bares, still under no circumstances can they tolerate it, at least consciously. They want to be able to “ solve ” this game, that they play, but in the same time they are in a constant battle inside them. When the evil and the good “ crush ” onto each other , it ' s the time when the femme fatale appears.

But the question is why do real men feel so weak though ready to enslave this untouchable dream of femme fatale? My though is that men love power and feel really victimised when they realize that they can just not have it all. The femme fatale is in fact the enemy, and the man ' s nature calls for constant winning. Being unable to be caught and in a way “untouchable ” makes men want her more.

To sum up, maybe it ' s a goal that men need to have in order to move on. My thought is like, if they succeed in captivating her soul that would automatically mean the end of an era. And if they did that, what would be the next to captivate? On the thought that a femme fatale - even though for sure would lead them to a disastrous path- is the ultimate “genre ” of feminine. It may sound peculiar but the utopia of enslaving a woman that was “made ” never to be enslaved for, is men ' s untouchable dream of always wondering “what if? ” . Subconsciously they would never want to make her theirs just because they would be afraid of the consequence that after a femme fatale there is nothing. To cut a long way short, it ' s like a vicious circle with no beginning and no end. Or even though as an excuse to always look for something. I would compare it with those who always travel around in a constant hunting of gold, even though they know that the possibility to find it is minor. They just need a new challenge, and a femme fatale is always a challenge.

Feminine Side

The stereotype of femme fatale has been more than a challenge though. The minute men think about femme fatales as a “ potential ” trophy of their strangle to gain them, the exact same time all the non- femme fatales wants to became one of those.

By the women emancipation and, especially, sexual and social liberation, the so- called “weak sex ” stormed into a world that was ready for them to just take it. The stereotype of femme fatale bears all these contradictive feelings. Femme fatales are not afraid of going and get what they want, and that " s the feeling that contemporary women curve for. They want this power, or even better they need it. Maybe it " s relics from the past, back at eras when men used to have the power and now women need to feel that they can do it on their own. But in a weird way. The most possible, at least for me, thing is that the femme fatale represents all these women who never had the guts or the methods, or even the chance, to make their lives better, so this mysterious, deadly, almost sadistic woman embodies their frustrated hopes and dreams.

In addition, women have a love and hate relationship with the femme fatale figure, and that happens mainly out of jealousy. I strongly believe, that the game of power can ' t be taught. Instead you are born with it. As a result, a femme fatale with all this uncontrollable and turbulent character fulfils every woman ' s dream of winning the game of the sexes. Though in the same time women feel repulsive against femme fatales probably because they just can act like them. Even though femme fatales lead a self destructive life, women would wish to have at least a moment of real power rather than a whole life of oppression.

Epilogue

Ancient Greeks used to say that the three most destructive, yet most fascinating “elements” were “ fire, woman and sea ” . This phrase integrates the femme fatale stereotype in the film noir movies. They are dangerous and destructive yet inconsiderable to exist without them.

Women ' s liberation of men ' s “ chains ” , in a way, was in fact the first step for women to prove mostly to themselves that they can do it on their own. But still, that counted only for the real world. Cinema may be a mirror of life but still it needs something more exciting to gain and sustain its glory. The dark atmosphere of film noir needed a powerful, fearless and vicious feminine figure to compete against the stereotype of the always settling housewife. And not only that. It needed a figure that would be more vicious than a man too. An unbeatable component that would last till the end.

The paradox with the femme fatale figure is that even if in most of the films- at least in the ones of the first and the second period that I describe in that essay- it gets what it deserves with their death, still it remains a main heroin. Even death is not enough to depreciate her power. And this occurs mostly because death is like the ultimate solution for the story. Or maybe is the only solution for the story in film noir movies. It ' s awkward to think about it but a femme fatale never looses. She can only , in a way loose, if she dies, which means that she can practically do nothing. And that ' s a battle she wins. The only way to “ get rid ” of her power is to kill her. Catharsis is only done by her death, since human strength just can ' t beat her.

Out of the … Present

The stereotype of femme fatale in the first period of film noir was more than daring in the period of the 40s. In the movie “ Out of the past ” there are elements that proclaim the revolution of the this feminine stereotype. Back then though it was too premature for a figure like that to stand on its own in a period where women were still under men ' s shadow. The only method for this figure to exist was through comparison with the “ good”woman ' s figure. The one of the innocent, prudent and always loyal housewife. In the first period, and specifically speaking in the “ Out of the past ” movie, this comparison is more than crystal clear. I pinpointed before the basic measures that the screenplay uses in order to make the femme fatale “ bearable ” in the story.

But as the whole world was changing, cinema was following all these “ cosmic ” alterations. In the 60s and mostly 70s, the world was facing a series of new things. From wars, to economic crisis, and from sexual revolution to women ' s emancipation. It ' s natural that the interests in cinema where about to change too. Though in these specific eras the stereotype of femme fatale is not so predominant, there are still movies that she leads a vital role. The main reason for that is that feminism called for women ' s need to be treated as equal and not be treated as dark personas who needed to use seductive and alluring method in order to succeed what they wanted to. Women were at the first line and a femme fatale is now competing against man without being in a need to use the “ good feminine figure ” to exist. Now they were equal to men and a femme fatale could compete them face to face, still by using her sexuality but not as an insinuation any more.

With all this history behind her the femme fatale of the 80s, and especially nowadays, was ready to reign in the cinema of film noir. No more hiding, no more sneaking. Totally independent, liberal and fearless, the new femme fatale exposes herself and almost makes her male partner a foul out of himself. Or even better, she obviously, and with no regrets or shame, treats him like her own personal toy. But that was what she was always doing. Manipulating and using, almost abusing, him. Since, the main difference now is that she clearly does not care if the male acknowledges it or not. She jut provokes him openly making him feel meaningless, small and powerless.

To cut a long way short, the femme fatale figure is a stereotype of the unfulfilled and that 's why I think it managed not only to survive throughout the years but even triumph her own presence in the world of cinema. Cinema is a fairytale of believable or not stories which curves for the unknown and the unbeatable heroes. Under these circumstances the sadistic figure of femme fatale is an anti-heroin that earned her own reign in the underworld and dark road of film noir movies. The only mystification is “ if contemporary society fulfils the goals of the femme fatale figure does this mean that she is done? And if so, what ' s next?”.