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Beyond the Limits of Noir Scholarship 1 What Makes Those Dames So

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Beyond the Limits of Noir Scholarship 1 What Makes Those Dames So Notes Introduction: Beyond the Limits of Noir Scholarship 1. The fourth manifestation of the fatal – the garçon has not been included in this book due to the marked absence of fatal young men in American noir. Characters such as Tom Ripley (Matt Damon) in Anthony Minghella’s 1999 cinematic remake of Patricia Highsmith’s novel The Talented Mr Ripley (1955), come close; however, although Tom is young he is very much an adult. 2. See Paul Schrader’s ‘Notes on Film Noir’ (1996, pp. 53– 64) for a more com- prehensive breakdown of the stylistic elements of classic noir. 3. Bill Drake’s A Rage in Harlem (1991) and Hoodlum (1997), both period- gangster thrillers, could also be argued to function to this effect. 4. Along similar lines to Faludi, Imelda Whelehan argues the feminism has become an ‘f- word’ and is promoted as an ‘empty dogma which brain- washed a whole generation of women into a false consciousness of their relationship with power’ (2000, p. 16). This manifests in popular media as what Whelehan describes as ‘ retro- sexism’, where anti- feminist rhetoric is rehashed in the form of nostalgia (2000, pp. 24– 5). One way this is played out is through reruns of television shows that depict blatant sexism such as M*A*S*H (Lary Gelbart, 1972– 1983). 5. Also see Munford (2004, pp. 144– 5) and Heywood and Drake (1997, p. 5). 1 What Makes Those Dames So Deadly? 1. It is worth noting however, that although Kitty is elegantly displayed in early flashback sequences, later in the film, after her boyfriend Jim Colefax (Albert Dekker) is released from prison, she becomes increasingly deglamourised. As Jans B. Wagner (2005, p. 43) identifies, Kitty appears in a succession of seedy motel rooms, devoid of makeup and looking visibly tired. Her costuming ranges from plain sweaters to wrinkled shirts and skirts. Finally, by the end of the film, supposedly nine years after Kitty first appears in flashback, she has transformed into what appears to be a conservative, middle- class housewife – iconography that is emblematic of the increased control Colefax wields over her. 2. Steve Neale also discusses Vicki’s predicament as a ‘powerless victim of powerful men’ in his paper ‘“I Can’t Tell Anymore Whether You’re Lying”: Double Indemnity, Human Desire and the Narratology of Femmes Fatales’ (2010, p. 194). 3. Also see Jancovich’s ‘Vicious Womanhood: Genre, the Femme Fatale, and Postwar America’ (2011). 166 Notes 167 4. The Big Sleep depicts working women in roles such as taxi drivers, con- trasting the working woman to the freeloading Carmen Sternwood. 5. This label could also apply to Gilda, except that Gilda is a gold digger who is not averse to using her sexuality to get what she wants. It is also worth mentioning that Stables also uses the term faux fatale in order to describe the maniacal women in horror- thrillers such as Single White Female (Barbet Schroder, 1992) and The Hand That Rocks the Cradle (Curtis Hanson, 1992). For Stables these ‘ psycho- femmes’ have fatale elements but they are not objects of desire like the fatale proper is (Stables, 1998, pp. 164– 65). 6. The fact that Laura is more transgressive in regards to her occupation as an executive may be reflective of the fact that the original novel was authored by a woman. 7. Very similar dynamics can be found in contemporary popular culture where increasingly women occupy banal, non- threatening occupations such as sex workers, dog walkers, waitresses, and maids (see Negra, 2009, p. 87). 8. Also see Kaplan’s ‘The Place of Women in Fritz Lang’s The Blue Gardenia’ (1998b, pp. 81– 7) where she argues that the film exposes the essential contradictions between dominant male discourse and the subordinate, repressed discourse of women in patriarchy. 9. Also see Jans B. Wagner’s ‘Racing the paradigm: The Whiteness of Film Noir’ in Dames in the Driver’s Seat (2005, pp. 29– 35). 10. As Brooks (2001, p. 2) identifies, similar themes focusing on ageing stars struggling to deal with their redundancy are also central to Robert Aldrich’s 1968 films What Ever Happened to Baby Jane and The Killing of Sister George, and Joseph L. Mankiewicz’s 1950 drama All About Eve. 2 The New Fatale: 1980– 1999 1. See Alexander Wilson’s ‘Friedkin’s Cruising, Ghetto Politics, and Gay Sexuality’ (1981) and Scott Tucker’s ‘Sex, Death, and Free Speech: The Fight to Stop Friedkin’s Cruising’ (1979). 2. Though this is something I examine in subsequent chapters, it is worth noting that the fille fatale can also be conceptualised in relation to masquerade where it can be extended to childishness, a modus operandi deployed by the deadly girl when convenient (as in Hard Candy for instance). Similarly, the construction of the homme fatal can also be explained in the context of masquerade. 3. Although this is far from the general rule since many neo- noirs still pun- ish their deadly women. As well as Body of Evidence, Red Rock West, Oliver Stone’s U Turn (1997), and Out of Time (Carl Franklin, 2003) are also exam- ples where the fatale is killed for her transgressions. 4. A noteworthy example of a recent film that appears to explore the sub- jective experiences of a femme fatale is David Fincher’s 2014 adaptation of Gillian Flynn’s 2012 novel Gone Girl. But as the narrative unfolds, it is revealed that all the experiences disclosed by the deadly (unbalanced) woman are a complete fabrication. 168 Notes 5. For an in depth discussion on Fatal Attraction see Suzanne Leonard’s 2009 book titled Fatal Attraction. 6. This situates her in opposition to neo- noir fatales like Matty, Catherine, and Bridget who are castrating because they outmanoeuvre, outsmart, and emasculate men (Doane, 1991, p. 122). 7. It is worth noting that all of these films have been remade; The Last House on the Left in 2009 by Dennis Iliadis and I Spit on Your Grave in 2010 by Steven Monroe, with a sequel by the same director released in 2013. Lipstick was remade in India firstly as Insaf Ka Tarazu (Beldev Raj Chopra, 1980) then as Edi Dharmam Edi Nyayam (Bapu, 1982). 8. In a similar vein, Creed (1993, p. 124) argues that other 1990s thrillers such as Basic Instinct also debunk the conventions of the rape- revenge narrative by showing it as motiveless, implying that women always have a desire for revenge, which can express itself at any time. 3 Mad, Bad, and Queer 1. Similarly, gay characters are increasingly prevalent in mainstream popular culture, though often such figures are problematic in that they tend to be condescending, framing gay men in the context of stereotypical modes of representation. The contentious character Cameron (Eric Stonestreet) in ABC’s commercially successful production Modern Family ( 2009– Present) is one such example. 2. Sixteenth century Hungarian countess Erzsébet Báthory de Ecsed, who reputedly tortured and murdered over 650 virgin girls, bathing in their blood to preserve her youth is also cited as an influence on the develop- ment of the cinematic female vampire (see Zimmerman, 2005, p. 23). 3. It is also perhaps no accident that Catherine’s profession specifically involves the scrutinisation of the female sexual organs. 4 Con- Artists, Valkyries, and Revenge Seekers 1. Though in keeping with the kinds of conflicting dilemmas that emerge as central to postfeminist discourse, the article describes how full time moth- ers also experience concerns that they will not be recognised as capable, creative individuals and that a brilliant life may be passing them by – an anxiety juxtaposed by those of working mothers who fear that they are ‘sacrificing their families on the altar of their own ambition’ (Gardner, 2014). 2. It is worth mentioning that in contrast to representations that glamourise sex workers, there are also a number of films depicting the occupation in a stark, often brutal manner, drawing attention to the darker side of the industry. Examples where this is the case include Lilya 4- Ever (Lukas Moodysson, 2002), London to Brighton (Paul Andrews, 2006), and Candy (Neil Armfield, 2006). Notes 169 3. While there is some racial diversity in regard to fatal women (albeit in an assimilated form), this does not extend to the deadly girl and man. Here, Anglo characters are overwhelmingly dominant. 5 What Are (Fatal) Little Girls Made of? 1. A later film that follows in a very similar vein to Mildred Pierce is Edward Dmytryk’s Where Love Has Gone (1964). Based on real life events surround- ing the murder of actress Lana Turner’s lover Johnny Stompanato at the hands of her daughter Cheryl Crane, the narrative focuses on a fourteen- year- old girl who shares a lover with her mother but ends up killing him. 2. Tennessee William’s script for Baby Doll describes a magazine called ‘Spicy Fiction’ and a tube of ointment on the bed table behind Archie, firmly attaching sexual overtones to his voyeuristic actions (Williams, 1957, p. 8). 3. Adrian Lyne’s 1997 remake of Lolita also casts Humbert Humbert (played by Jeremy Irons) as a love- struck- fool and Lolita as sexually assertive, knowing, and in control. 4. Themes of childishness as masquerade are taken to bizarre extremes in Jaume Collet- Serra’s 2009 horror Orphan, where the crazed nine- year- old antagonist is revealed to be a 33- year- old woman with a hormone disorder who destroys her adoptive family by seducing the father and then murder- ing him. 5. In Tennessee Williams’ play 27 Wagons Full of Cotton, which Baby Doll is primarily based on, the character Archie Meighan (named Jake in the original text) is described as being 60 years old (Williams, 1953, p.
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