1. Rama Hardy-Gerig
Dr. Rollins
ENGL 2342
04 December 2012
The Deconstruction of the Femme Fatale Over Time
The tragic destiny of the femme fatale is reflected in the sacrifices that women have made
throughout time, particularly in film. The evolution of the seductive and mysterious woman
whose attractions entrap her lovers in bonds of tantalizing desire, as seen from the infancy of
cinema in the 1940’s to present time, is exposing them to even more compromising positions
than ever before. History is changing gender relations and the roles played in movies often
altering the myth of a film genre. The role of the femme fatale during early Hollywood was an
enthrallment to the audience; these female characters were notorious for breaking the social
norms and conventions of what a woman should be and the way she should act. Ironically, in the
40’s, women had little social and political power, and yet they presented themselves with much
more dignity and grace. The sultry touch, the visual allure of a beautiful woman was enough to
turn a man’s head and seduce an audience in cinemas of yesteryear. Yet today, movies
characterize blunt, crass, and sexually explicit acts as the norm. And while women hold much
more power than they have ever had in modern civilization, they freely and openly exploit
themselves sexually in order to manipulate and emasculate men – sometimes knowingly and
other times unknowingly – yet all the while women ignore the continuing erosion of their own
moral code and self-esteem.
There are many different modern day femme fatale characters that one could choose from
to compare to those of earlier times. For instance, Glenn Close in “Fatal Attraction,” and
Angelina Jolie in “Wanted,” were femme fatale female characters who helped pave the way to

2. our modern day view showing the level of exploitation that society will tolerate for this
“character” on screen. Yet, the role of Catherine Tremmell in “Basic Instinct,” played by Sharon
Stone, has all of the elements necessary to demonstrate the true evolution of this female role over
time. Her character is one that certainly breaks the social norms on various different levels, and
furthermore, she also shows the digression of femme fatale females of today – those who have
more power and yet, choose to exploit themselves sexually on the big screen. This deterioration
of moral values is exposed in contrast to those of the past. Yet, in the 1940s, the Rita Hayworth
femme fatale was suggestive, smooth and seductive, thus enticing the audience, as well as the
male lead character. She was the ultimate femme fatale of the 1940’s, known as the "Great
American Love Goddess" in her role as Gilda, compared to the transformation of Sharon Stone’s
character, as Catherine Tremmell, in Paul Verhoeven's 1992 production of “Basic Instinct.” Thus
it is easy to see the compromise that female actresses have made over time, especially when one
considers that Rita Hayworth is remembered fondly as the love goddess, whereas Sharon Stone
is most famous for her role as Catherine Tremmell and the infamous interrogation scene where
she flashes the camera and bares all, exposing parts of her body for the onlookers to see that
were once held dear and viewed only as a treasure rather than a spectacle. Today, the role of the
femme fatale is expressed using blatant and unadulterated sex as a tool to manipulate the male
protagonist, without much room being left to the imagination. “The nature of the femme fatale's
evolution from her early incarnation in film noir of the 1940s, to her more recent reinterpretation
in the neo noir movement…” is brooding of the changing times (Fletcher). This sexually charged
scene is a definite reflection of the eroding moral compass and self-preservation of the modern
day femme fatale.
As pointed out by Patrick Quinn, author of “The Erosion of Sexual Power in the Femme
Fatale”, he writes that “the male victim is powerless to resist the allure which the femme fatale

3. seductively proffers” (Quinn 200). Even so, the women of the past were able to seduce and
manipulate the male protagonist while maintaining the virtues of self-preservation, dignity and
grace. Clearly, when analyzed, it takes much more skill to seduce with an allure, as did the ladies
of yesteryear, than it does today by exposing all on film in order to persuade the male or female
counterpart. The societal expectations of power and ritualistic expectations of the sex act have
transformed over time, as audiences of today have been desensitized by the explicit acts of sex
by femme fatale females on screen (Quinn). Therefore, the role of Catherine Tremmell is the
ultimate exposure, perhaps finale, to the tragic deconstruction and destiny of the femme fatale
female.
In the beginning, the detective genre served as a good backdrop for the noir and femme
fatale female, with its smoky rooms, gas lamplights and darkened doorways, all perfect places
for the female lying in wait to seize upon her target. The crime genre has been greatly influenced
by gender wars during several periods in history. Two outstanding examples of detective films
influenced by gender role changes are Otto Preminger's “Laura” (1944) and Paul Verhoeven's
“Basic Instinct” (1992). As cinema went through periods and saw a host of new eras and
movements in which the detective genre flourished, society was influenced by World War II, as
women were transitioning from domestic roles into the work place. Still, they were able to break
the social norms, and enjoy their newfound freedom without the sexually explicit content found
in modern day film. These films changed along with their audiences. “But although…
transformations over the years between the releases of Laura and Basic Instinct, these films are
similar in their film noir style and their focus on the newly masculinized independent woman, as
well as tensions between the female male populations” (Chowdhury, par. 2). The dominating
masochism of today’s femme fatale is tearing down the men along her path with blatant sexual
acts, leaving them baffled and confused, then using them as a stepping stone to satisfy her own

4. sexual hunger and basic instinctual desires. However, according the Chowdhury, “there were
many men who were very uncomfortable and even threatened by the female's apparent
abandonment of the domestic sphere and their new roles in the working world.” Real power and
courage was displayed on screen through elegance and self-respect, which indubitably made men
uncomfortable to see the empowered women emerging on screen. Yet, the women of days gone
by opened the door for the women of today – thus posing the question – how would they view
the anesthetized audience of todays’ sexually exploited and aggressive femme fatale females?
To find this answer, the viewers must take a closer look at the construction of the femme
fatale of noir of the 1950’s and examine Jean Simmons’ role in “Angel Face” as the deeply
disturbed Diane Tremayne, again, under the direction of Otto Preminger. The titles in both films
“Angel Face,” and “Basic Instinct,” are part of the irony. For instance, the “moral ambiguity of
casting such a beautiful woman with an angelic face to play a sociopath” that will go to any
lengths including murder to satisfy her needs is an earmark of cinema irony and a deliberate ploy
by Preminger (Reynolds 8). While “Basic Instinct” portrays its leading role as a stunningly
beautiful, crime novelist and psychopath, she kills like a black widow after mating and fulfilling
her sexual desires and then revels in an instinctive desire to kill her mate. Likewise, both of these
characters are heiresses to fortunes and yet they both have a murderess’s need and yes, they use
their sexuality to manipulate their protagonist in order to satisfy their sensational lust. Still one
could argue that the 1950’s female sociopath murdered with less blatant sexual acts than that of
the modern day psycho. In the cinema of yesteryear, the audience was entertained by a strong,
confident, albeit insane woman, but she managed to keep her clothes on and still hold the
onlookers captive.
Moreover, an additional aspect of Sharon Stone’s femme fatale character is that she not
only uses her deceitful sexuality and cunning ways to manipulate the male protagonist, but also

5. her female counterpart. There is a huge proliferation of the femme fatale characters in today’s
cinema. According to Katherine Farrimond, author of “Stay Still So We Can See Who You Are,”
over the past two decades “one of the most striking patterns is the frequency of femme fatale
characters who seduce women as well as men” (Farrimond). This is a contrast that is clearly
unique to the modern generation of actresses, as those of the 40’s and other generations would
not have been allowed to come out as homosexual or make sexual determinations on screen.
Farrimond argues that bisexual behavior of the modern femme fatale provides a vital space for a
bisexual feminist to find her sexuality. Nevertheless, many members of the gay community
protested the making of “Basic Instinct” due to the deviant stereotype that the leading role of
Catherine Tremmell cast upon lesbians. Even so, it is not that there is a right or wrong way to
feel sexually, but perhaps a less precarious way to make the discovery process more of a
personal decision rather than a public display for the cinematic audience. This sexually explicit
betrayal of women could be viewed as the moral code fading and it leaves very little room for
future generations to find their own way, unless of course, they should be on screen and get the
approval of an audience.
One of the many honors that women have today is reflecting on the sacrifices of the
heroines from former times. Those pioneers in the film industry were neither ashamed nor afraid
to express themselves both on and off of the big screen, however they preserved their self-
respect. These innovative female role models are known for breaking not only the social norms
with their acting, but breaking the glass ceiling as well. The rights of women have been liberated
because of the courage of a few from our past. They took the part of women from the
confinement of the bedroom, kitchen, and living room and set the stage for them in scenes that
include the office, politics, social power, and Hollywood. A true sense of sisterhood was taken to
new levels by femme fatale characters portrayed by women such as, Rita Hayworth, Jean

6. Simmons, Gene Tierney, and many more. There is no question that women have the right to
express themselves in whatever fashion they choose just as Sharon Stone has revealed so
flamboyantly through her role as Catherine Tremmell. The real concern and perhaps sadness is in
what is being left behind for the future generations. The bar has been raised and women are free,
but at what cost? The self-preservation for women of tomorrow will be a reflection of the women
of today. Shall they be passed a torch that illuminates their way at a higher starting place or will
they be forced to pause, wishing they could turn back time – to a simpler time – when a woman
was a lady and a man was a gentleman and chivalry was alive and well – and not just in the
movie classics from days gone by?
Perhaps for the answer, one only needs to look to the amazing and astute insight of
Chaucer’s “Wife of Bath” for the key to the future. Chaucer used his creative writing to craft this
character which emphasizes the negative implications that are linked with women throughout
time. To bring this character to life, Chaucer paints a picture of the tale about a woman, “whom
everything is large to the point of exaggeration: her bulk, her clothes, her mouth, the number of
her marriages, the extent of her travels, her zest for sex, her love of domination, her torrential
delivery ( Chaucer 1). The “Wife of Bath” symbolizes a greedy, lustful, manipulating, and
sexually active “black widow” that has little respect for the rights of women let alone, her own
body. While this mythical femme fatale must have insulted feminists everywhere – she is an
astute portrayal of today’s femme fatale seven centuries later – and in today’s society she is
sadly part of our cultural norm. This type of sexual behavior is widely accepted and yet, it
exploits not only women of long ago and today but future women as well. Women have come to
a disastrous end of the femme fatale when contrasting the movies of the 40’s to the tragic
characters of today. This is a good time to reflect on what the future may hold. Eventually, it
would seem that the role of the female heroines, particularly the femme fatale, has come full

7. circle and may need to revert back in time, perhaps as far back as the Puritans, in order to
reconstruct the values that allowed the women of yesteryear to open the door for the women of
today. Women should tread carefully, as the visual allure of the sultry Hollywood actresses is
fading in to the past and is being replaced, ironically, with a more powerful, but morally
bankrupt portrayal of the femme fatale as seen in modern day cinema. This, in turn, could cast an
ominous gloom over the future, shaping the way women should be – and the way women should
act.

8. Works Cited
Chaucer, Geoffrey. “The Wife of Bath’s Tale.” 2005. The Wife of Bath and Her Tale. Brooklyn
University: Murphy, N.p., PDF.
Chowdhury, Cassandara. “A Comparison of Femme Fatales in Post-Modern Cinema and Noir
Cinema.” Noir. Yahoo. N.p., 21 July 2008. Web. 5 Dec. 2012.
Farrimond, Katherine. “‘Stay Still So We Can See Who You Are’: Anxiety and Bisexual
Activity in the Contemporary Femme Fatale Film.” Journal of Bisexuality 12.1 (2012):
138-74. Ebsco. Web. 05 Dec. 2012.
Fletcher, Kate. “The evolution of the femme fatale: assessing her transition into films of the neo
noir.” Dissertations at Portsmouth (2004): . University of Portmouth. Web. 05 Dec.
2012.
Quinn, Patrick. The Language of Metamorphosis. Burlington University: Ashgate Publishing
Company, 2005. Google. Web. 05 Dec 2012
Reynolds, Tom. “From Blair House to Infinity and Beyond!” Analysis/Investigation . Political
Cortex. , 26 Feb 2012. Web. 10 Dec 2012.
Sherwin, Miranda. “Deconstructing the Male: Masochism, Female Spectatorship, and the
Femme Fatale in Fatal Attraction, Body of Evidence, and Basic Instinct. .” Journal of
Popular Film & Television 35.4 (2008): 174-82. Ebsco. Web. 05 Dec 2012.