Analysis Of The Film The Last Seduction

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In this piece of writing I shall be looking closely at the film The Last Seduction (1994. Dir. John Dahl) a noir film from the early 90s. The film focused on main character Bridget Gregory (Linda Fiorentino) who convinces her husband Clay (Bill Pullman) to make a million dollar sale of drugs, taking off with the money that he made, leaving New York and ending up in small town Beston. She encounters male local, Mike Swale (Peter Berg) and begins to seduce him into a relationship. She then begins to elaborate a plan to murder her husband, convincing her new seduced lover to assist her in the plan. Film noir is known for its portrayal of female characters, specifically the femme fatale which in The Last Seduction is the focus character rather than a secondary character. I shall be looking at the film from two analytical perspectives, those being feminism and genre. Both these two approaches fit reasonably well with a film like The Last Seduction, noir films tend to focus on female characters and the transition into the early 90s brought a change to the genre now commonly referred to as ‘neo-noir’ and the representation of women had changed over the years in film, compared to the representations from the classic period of noir circa 1940s to the 1950s. The Last Seduction was produced and released in the 1990s, around the time that the second wave of feminism was still going strong. “The second wave began in the 1960s and continued into the 1990s” (Rampton, Martha. "The Three

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