# data[].attributes.body
In Double Indemnity (1944), the femme fatale character (Phyllis Dietrichson) uses her sexuality to her advantage by luring a man (Walter Neff) into a murder plot. Her calculated charm and beautiful blonde hair are what make her the quintessential femme fatale (Spicer, Character Types and Performers, 90). Phyllis's ability to orchestrate the murder plot to betray Walter ultimately reveals her ambition and desire to get what she wants, which in this situation is greed. Creating Phyllis's motivation reflects the post-war anxieties concerning the ‘gold-digging’ women. As men returned from the war, the realization of their hidden fears of women’s financial and sexual independence. The ending of this film also reflects the patriarch's genuine opinion of women who choose to disobey men – Phyllis is punished for her transgression by dying at the end to reinforce patriarchal standings.

# data[].attributes.body
The film, Ossessione (1943) is defined by its femme fatale character, Giovanna. Giovanna seduces Gino and uses him to escape her oppressive marriage (Spicer, Film Noir and the Culture of Internationalism, 166). Unlike the previous femme fatale, Phyills, Giovanna is a victim of Italy's fascist and patriarchal structures, which adds sympathy to the character, unlike Phyills. Additionally, Giovanna is not portrayed as wealthy, reflecting the post-war economic insecurity in Italy. In comparison to the US, where great economic prosperity was found after the war, this portrayal evokes sympathy towards these characters. Since Giovanna has faced many struggles, the audience will feel more empathy, especially since she is under a fascist regime. Phyills is harder to sympathize with because of her perceived danger in manipulation and is not seen as a maternal figure like Giovanna is. Similar to most femme fatale characters, Giovanna’s life is doomed to meet a grim ending, as she is punished for her transgressions. Being set in Italy during the 1940s, this film critiques fascist gender roles by showing how the social oppression of women can have extreme consequences.

# data[].attributes.attachment_caption
(source: UCLA film and television archive)

# data[].attributes.body
Although the primary love interest in this film is not typically considered a femme fatale, the elusive “phantom lady” embodies the trope of a dangerous, mysterious woman who can lead men astray (Spicer, 93). Because her disappearance is what starts the entire plot of the film, this idea reinforces that the stealth and mystery of this woman is inherently threatening. The worst fear of the patriarchy is to lose control, so not knowing anything about this woman, even her name, age, or what she looks like (according to the main character) is deemed to be a threat to all men around, as she is not submissive and precisely as they want her. Furthermore, since she is never fully seen throughout the film, this leads to her becoming a symbol of male paranoia about the idea of women having bodily autonomy – being allowed to do as they please, not owing anything to a man.

# data[].attributes.body
Similar to Phyllis from Double Indemnity, Gilda is deemed sensual and is able to destroy the bond between the two characters, Johnny and Ballin. This portrayal of Gildas' ability to ruin bonds reflects the femme fatale's threat to male camaraderie, therefore a threat to the patriarchal system. Gilda is not purely evil – her defiance is playful, and the film's ending suggests that she may have a sort of redemption. We often see the femme fatale character punished for her sins to the patriarchy, but because of Gildas' charisma, which portrays her as more delicate and sympathetic, complicates her punishment in terms of what is typical in noir films (Martin, 216). This portrayal of Gilda reflects the post-war resistance to women's independence, with Gilda's resilience guiding the viewer to a shifting attitude towards the now independent woman.

# data[].attributes.body
The combination of melodrama and noir lends this femme fatale, known as Violeta, characteristics such as moral corruption and embodiment of vice that will ultimately lead men to ruin. Violeta is yet another portrayal of the classic femme fatale, being morally ambiguous and manipulative, as this is often the only way to survive in a harsh and cruel world, even if its at the expense of others. Unlike the classic Hollywood femme fatale, who is punished for her transgressions, the fate of Violeta is more complex. Since this is set in Mexico, the added catholic undertones portraying a sense of inherent guilt can also reflect the double standards imposed on women in the 1950s in Mexico. Women were often divided into saintly, god fearing women who were deemed acceptable to the patriarchy, and there would be the sinful seductress type, seeming to be able to destroy and ruin the perceived fear that many men at the time had – being seduced and taken advantage of by women. This portrayal of women seems to be interesting when women don’t want to be controlled; they are deemed as sinful, manipulative, and a danger to society, until they become submissive to men.

# data[].attributes.headline
Femme Fatales' reflection on the role of women in the 1940s-60s

# data[].attributes.subject
Femme Fatales' reflection on the role of women in the 1940s-60s

# data[].attributes.body
The complex figure of the femme fatale ultimately reflects the societal fears of female autonomy. Whether it’s in the context of the US, embodying the postwar male anxiety that women can be independent, or foreign films where she is used as a critique of class and patriarchal oppression, in noir, this woman needs to be punished for her sins against the patriarchy. While the classic noir of the 1940s-1960s would punish her, neo-noir films grant her power, reflecting the changing gender dynamics in cinema and society. Films like Gone Girl (2014) allow the femme fatale to evade punishment, mirroring movements like second-wave feminism, sexual liberation movements, and the increased acknowledgment of the partiality of women’s portrayal in film.

# data[].attributes.attachment_caption
(source: Academy Museum of Motion Pictures) 

# data[].attributes.body
Martin, Angela. "Gilda Didn’t Do Any of Those Things You’ve Been Losing Sleep Over!’: The Central Women of 40s Films Noirs." Gilda, pp. 202-228.

Spicer, Andrew. “Gender in Film Noir: Character types and preformers”, 2002, pp. 84-104.

Spicer, Andrew. Women Directors and Film Noir, 2002, pp.166-168

# data[].attributes.headline
Diving Deeper into the World of Deadly Women 

# data[].attributes.subject
Diving Deeper into the World of Deadly Women 