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A femme fatale (/ ˌ f æ m f ə ˈ t ɑː l / or / ˌ f ɛ m f ə ˈ t ɑː l /; French: [fam fatal], literally "lethal woman"), is a prevalent and indicating theme to the style of film noir. The portrayal of women in film noir, and more specifically the term “femme fatale”, has been a topic of intrigue and fascination for decades. The ...
Femmes fatales were standard fare in hardboiled crime stories in 1930s pulp fiction.. A femme fatale (/ ˌ f ɛ m f ə ˈ t æ l,-ˈ t ɑː l / FEM fə-TA(H)L, French: [fam fatal]; lit. ' fatal woman '), sometimes called a maneater, [1] Mata Hari, or vamp, is a stock character of a mysterious, beautiful, and seductive woman whose charms ensnare her lovers, often leading them into compromising ...
Thus, most of the female characters are a representation of their desires or fears. She gives the example of the femme fatale, a female stock character that often appears in the film noir genre. The femme fatale is often portrayed as an evil force trying to deceive the male protagonist, and she is usually punished or killed because of this.
Femme Fatale is no exception. The film stars Rebecca Romijn has a jewel thief who double-crosses her partner and assumes a new identity after a major heist during the Cannes Film Festival.
Femme Fatale is a 2002 erotic thriller film [2] [3] written and directed by Brian De Palma. The film stars Antonio Banderas and Rebecca Romijn-Stamos. It was screened out of competition at the 2002 Cannes Film Festival. [4] Upon its release, Femme Fatale received mixed reviews from film critics and became a box office flop.
Phyllis Dietrichson (Phyllis Nirdlinger in the book) is a fictional character in the book and two film adaptations of James M. Cain's novella Double Indemnity. For the 1944 film of the same name, Barbara Stanwyck was nominated for the Academy Award for Best Actress. The character is considered one of the best femme fatale roles in film noir ...
Scholar Emanuel Levy notes that the film embodies both "conventions of the noir and psychological melodrama," blurring the distinction and resulting in a unique, one-of-a-kind work. [7] Joshi identifies Ellen Berent as one of the prime examples of the femme fatale in film history. [5]
It popularised the word vamp (short for vampire), [2] which describes a femme fatale who causes the moral degradation of those she seduces, first fascinating and then exhausting her victims. In 2015, the United States Library of Congress selected the film for preservation in the National Film Registry , finding it "culturally, historically, or ...