The femme fatale consists of two primary characteristics. The foremost being the seductive nature and the beauty of the woman playing the part. The second being the mystery behind the woman. The femme fatale in question, Ilsa Lund (Ingrid Bergman), is an excellent portrait of these two main features of the femme fatale among other additional features that are cemented into the concept of the archetype. The number of examples that exhibit these qualities in the film are on the border of infinite.
Throughout the film noir genre we have explored the role of the femme fatale characters who use their womanly charms as weapons to manipulate men and achieve some higher goal. There acting skills to appear vulnerable and helpless, along with her manipulative nature creates a cold hearted master over men, disguised as a damsel in distress, which our heroes cannot resist. This femme fatale character is portrayed perfectly by Norma Desmond in Billy Wilder’s film Sunset Boulevard but is also challenged by the strong, yet kind, character of Laura Hunt in the novel Laura by Vera Caspary. The feminist view of Laura shines a great light on how women can be empowered and independent and seeking to gain status or monetary gain, but from their own hard
The Femme Fatale was represented by the character Veda. She was the innocent sweetheart initially, but had an alter ego as a murderer. Veda was misconceiving to both Mildred and Monte, and as she aged became an opportunist. During the investigation of the murder, she would rather use her mother as a scapegoat, instead of taking the responsibility for her actions. Her mother gave her everything she desired, but still she wanted more.
Interestingly, the two latter archetypes gather in one same character: Lady Audley’s. In Lady Audley’s Secret by Mary Elizabeth Braddon, Lady Audley's character’s versatility allows her to present both sides of herself, making her seem in some instances the angel in the house and the femme fatale, simultaneously reflecting the opposition of morals in the Victorian
Miss Strangeworth, a character in the short story “The Possibility of Evil” by Shirley Jackson, who is a complex character that is fond of taking care of her roses and helping people in the to wn. Because Miss Strangeworth is a deceptive, narrow minded lady with a God complex, her style of help is very strange.
“Am I a bad feminist?” “It seems that I am a ‘Bad Feminist.’ I can add that to the other things I 've been accused of since 1972, such as climbing to fame up a pyramid of decapitated men 's heads (a leftie journal), of being a dominatrix bent on the subjugation of men (a rightie one, complete with an illustration of me in leather boots and a whip) and of being an awful person who can annihilate – with her magic White Witch powers – anyone critical of her at Toronto dinner tables. I 'm so scary!” Atwood’s satirical description of herself here is remarkably similar to societal perceptions of Grace in Alias Grace. In the novel, Grace is considered to be this dark “murderess” who charms men, deceives them, then kills them though she may not go quite as far as to create “a pyramid of decapitated men’s heads.” She can be seen by readers as a dominatrix, weaving together a false story, alluring Dr. Jordan and thus, gaining power over him. In addition, similar to Atwood’s perceived “White Witch powers,” at the end of the novel, Jeremiah draws Grace into a trance and Mary’s voice speaks through Grace in a witchlike manner. It seems as if the societal opinions of Atwood influenced her creation of Grace.
Phyllis, the femme fatale, was the literal downfall of Walter Neff caused by his emotions towards her. As critics have remarked, Phyllis was the perfect femme fatale because she was like a robot; emotionless and targeted towards her goal. She did not care who she had to use to gain what she wanted, and in this case, it was money. To contrast the static character of Phyllis, Neff is dynamic, emotional, and swayed easily. Just as how he was influenced by Phyllis to murder her husband, he was also moved by Lola and her remarks on Phyllis and what she had done.
Mildred, Faber, and Clarisse are characters that represent different aspects of conformity or nonconformity in the Fahrenheit 451 society. Mildred in the novel is Montag’s wife. She is the perfect example of a conformed person in this society because she is brainwashed by the tv that the government has set in place. Proof of such is when she said, " 'Books aren't people. You read and I look all around, but there isn't anybody!'
The principal of Heilig High School where I attended was a woman in her forty named Joana Fahrenheit. Though she was already in her forty, her appearance was still quite good. I didn’t say she looked too young for her age. If anything her face really matched that of a woman in her forty with few wrinkles, probably because of her role as principal. But, compared to most woman her age that I have seen, Mrs. Joana Fahrenheit’s appearance was more pleasant.
In the short story “The Possibility of Evil” written by Shirley Jackson the main protagonist, Miss Adela Strangeworth demonstrates multiple traits of her complex personality through her actions, thoughts and the way she communicates. A couple of these traits that are significant to her character are insensitivity and masquerading. Imagine an insanely insensitive person who does not care how others feel. Miss Stangeworth’s unpleasant letters advocate her observations rather than facts or feelings. In a letter she writes anonymously to the Crane family saying “DIDN’T YOU EVER SEE AN IDIOT CHILD BEFORE?