In Film Noir: Reflections in a Dark Mirror Bruce Crowther states: to a

significant extent Film Noir is a mans world (p. 51). Why is it then, that it is
the women we remember? Perhaps Film Noir is a womans world discuss.

The labyrinthine world of film noir is fraught with anxiety, paranoia and desire,
unanswered questions, mistrust and unfulfilled dreams. This is fuelled by a
concoction of corrupt bureaucrats, tough detectives, suave businessmen,
gangsters, duplicitous dames and, ultimately, heroes and villains. The most
enigmatic character of all is that of the Spiderwoman or, as she is more
famously known, the femme fatale. Film noir, with its negotiation of gender
and sex roles, and the blurring of traditional binaries, is a key site for
important debates.
Bruce Crowther argues that to a certain extent, film noir is a mans
world (1990: 115), yet this proves problematic when considering noirs
treatment of gender film noir disavows traditional conceptions of cinemas
roles, characters and expectations. To make the claim that film noir is a mans
world undermines the power and influence that the femme fatale character
has not just in noir, but also for cinema history as a whole. As Crowther (ibid)
goes on to argue, most protagonists were men, most of the voice-overs were
male and the literary origins and film industry were dominated by men, but
what cannot be ignored is the profound impact film noir creates with its
inclusion of very strong, powerful and independently-minded women, who are
both significant and crucial to the plot.
The purpose of this essay is to argue that the world of film noir is not
necessarily owned by men predominantly, but that the world belongs just as
much to the women on screen. The primary argument will detail film noirs
presentation of a new kind of woman in the form of the femme fatale,
including her relationship with the men on screen, as the noir narrative
primarily concerns this relationship as Gledhill argues, it is the vagaries of
this relationship between men and women that determine the twists and turns
of the plot (cited in Krutnik, 1991: 99).
Using both Ann Kaplan and Janey Places work on women in film noir
and Jans Wagers discussion of the femme fatale in relation to domesticity,

patriarchy and society this essay will detail the femme fatales threat to
patriarchal norm. This will be aided by Frank Krutniks piece on masculinity,
which includes the Oedipus Complex and castration theory, which helps
support the argument that we are seeing a different male hero here, and that
women are at the core of this change. A very brief look at Double Indemnity
(1944) and Mildred Pierce (1945) will lead to a discussion of Out of the Past
(1947), in the aim to show the varying representations apparent in the noir
cycle. Firstly, this essay will provide the societal context surrounding the
Spiderwomans emergence, ending with a brief discussion of noirs
implications, particularly for future representations of women.
During the Second World War, American society saw a shift in gender
roles that would resonate after the wars end. With men away fighting, women
became major additions to the labour force, intrinsic to keeping the country
moving in 1945 there were almost 20 million women workers in America, an
increase of 6.5 million (Krutnik, 1991: 57). In times of duty, these women were
doing jobs men previously did. However, after the war, with men returning
home, it was assumed that these same women would willingly return to their
domestic place or in similar roles. These men, struggling with post-war trauma
saw the country they left altered, resulting in a growing disillusionment
surrounding their own and their countrys future. Finding it difficult to fit back
into society, men felt alienated and displaced this detachment felt strongly
into relation to women who were now threats to male identity.
The woman as threat is played out on screen analysis of this by
many noir theorists surrounds the castration theory, stemming from Freudian
thought surrounding the Oedipus complex. Beginning in a boys relationship
with his mother and father, a sexual object-cathexis towards the mother
arises, which conflicts with his identification with his father (Krutnik, 1991: 77).
This childhood progression sees the child having to give up the mother or
intensify identification with the father, the latter being the normal progression
to establish male gender identity (ibid: 78). In this, the mother is seen to lack
this distinguishing mark of male sexuality, to be castrated (ibid) the phallus
signifying the fathers authority and dominant place.
The noir world replays this scenario through the threat of castration
a return to males reliance on the female, an effeminate identity, lacking
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authority. The renouncement of mother as sexual object in childhood is

counter-acted in the heterosexual relationship where the male returns to
idealising the female. This is deployed in noir with the male, through desire,
allowing himself to become engulfed by the woman (ibid: 84). There is a
threatening of patriarchal ideology here by presenting such powerful women
who use men for their own needs. How gender is portrayed is not pure
imagination but reflects the anxieties in society.
The male hero in classical Hollywood was known for being powerful
and stoic. In film noir however, maleness is an unstable identity noir is
littered with weak, confused and powerless males, the victims of duplicitous
femme fatales (Spicer, 2002: 84). These femme fatales as active subjects are
central to the narrative as the enigma, the catalyst for events. She begins as
the light of opportunity for the hero, a chance out of his dreary life. In noir,
woman is fate, thus she is inescapable. The dominance that was once a
masculine trait could now arguably be attributed to the women.
The classic femme fatale wanted money, freedom and independence
she used men and then planned to dispose of them when necessary. As
Place (1998: 57) notes, it is her aspirations and ambition which threaten the
hero. She dominates not just the screen but the narrative like never before
she presents a clear challenge to the hero in control the woman often
dominates in film noir and the male protagonist often wants to be dominated
(Wager, 2005: 20). Whether that is Kitty March (Joan Bennett) over Chris
Cross (Edward G. Robinson) in Scarlet Street (1945), or Cora (Lana Turner)
over Frank (John Garfield) in A Postman Always Rings Twice (1946), the
women have the capacity to destroy, not just be destroyed, as she threatens
to castrate and devour the male victim (Spicer, 2002: 90).
It is this screen dominance that the femme fatales strength is
emphasised - in the harsh lighting of Claire Trevor in Murder, My Sweet
(1944) or Gloria Swanson in Sunset Boulevard (1950), strength is visually
inescapable. Foreground in the frame, these characters were centre focus.
Men knowingly enter the womans situation and environment; they cross the
boundary into the femme fatales world and get trapped by their desire and
her power and sexuality. The shadows, mirrors and reflections that litter noir
indicate not only her duplicitous nature but also a lack of unity that is seen to
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transcend the screen into American society. The femme fatale, Snyder (2001:
158) argues represented a concerted attempt by American filmmakers to
depict women in a genuine [] if somewhat harsh, way. Just as film noir is
more of an expression of tone or mood, these women were personifications of
the mood of men, post-war, who felt alienated by the changing face of the
womens part in society.
It is this active role and freedom in the frame that provokes Place to
note that it is her strength and sensual visual texture that is inevitably printed
in our memory, not her ultimate destruction (1998: 63). This visual style
makes the narrative so compelling that it stands as the only period [] in
which women are deadly, but sexy, exciting and strong (ibid). The ambiguity
often lies in the emotional damage done to the male hero on the females part,
a major threat to the flailing patriarchal system in some cases, the male
protagonist is simply destroyed because he cannot resist her charms
(Naremore, 1998: 221). In terms of appeal, the femme fatales complexity and
scheming is infinitely more interesting.
In classical Hollywood cinema the institution of family was key for
representing traditional gender roles. In film noir, the family is a not stable
institution but a place of struggle, with marriage seeing women, in particular,
languishing in boring captivity. The femme fatale is seen to elude the
American dream of home, family and security (Straayer, cited in Wager,
2005: 29) and is therefore eluding patriarchal norms. These women refuse to
conform, as conformity doesnt work for them thus resulting in patriarchys
need to destroy them at the end. However, it isnt the destruction of these
women, or the promotion of societal conformity that we remember, it is the
femme fatales motivation and actions to evade such repression. The femme
fatale knows that if she doesnt take action, to follow her goal for freedom and
financial independence, she will be reduced to the same fate as most women,
so uses her body and her will to escape the domestic realm. As Wager argues
the fantasy of domestic space works primarily as a male fantasy of successful
patriarchy (2005: 44), therefore these films settings, beyond domesticity,
work to challenge the power of masculinity on women. Both Phyllis
Dietrichson (Barbara Stanwyck), Mildred and Veda in Mildred Pierce, Cora
Smith in Postman and numerous other femme fatales can be seen to reject
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family ties and notions of domestic enslavement. These women actively reject
to conform, defying conventions refusing to stay married to a man who
doesnt like her (Phyllis), or a cheating husband (Mildred), or to a man who
makes decisions without her (Cora).
Phyllis Dietrichson in Double Indemnity could be said to be the
archetypal femme fatale. Visually enticing, Phyllis ensnares Walter Neff (Fred
MacMurray), an insurance salesman, into a scheme to murder her husband
for the double indemnity policy. Neff falls for her, knowing full well the situation
he is entering. Phyllis uses him for her own ends and there is never any
doubt who is boss (Crowther, 1990: 134). As Farber argues, Phyllis makes
Neff feel like he is the brains behind the plans, but all the while it is her who is
manipulating him (cited in Silver and Ursini, 1999: 50). Neff appears weak,
with Phyllis manipulating him continuously, entangling him into a situation he
cant escape it is as though she destroys his conscious thought.
Mildred Pierce presents a rare chance to witness a female protagonist
in a central role. After divorcing her husband, Mildred (Joan Crawford) is left
to bring up her two daughters, while working as a waitress. Working
relentlessly she builds up her own restaurant chain. Veda, her only remaining
daughter, is Mildreds motivation, so she can provide for her. With the murder
of Monte Beragon, a backer of her restaurant chain, the narrative situates
Mildred as the main suspect. When she opens her business her masculine
attire and strong presence attracts focus, with the camera following her
movement only. She is seen to be capable in handling her business affairs
and the men watch on in admiration. These untrustworthy, weak men are
relegated to the secondary status of instruments (Cook, 1998: 74), used
cleverly by the protagonist to gain a platform for business and success.
Mildred is seen to be opinionated, often talking back and interrupting the men
trying to dominate the conversation. In building up her own business, Mildred
displays a determination that was rarely seen by female characters in film.
Veda, the spoilt child disregards her mothers orders - she cares about class
and money over love, soon resulting in Mildreds bankruptcy and breakdown
of her marriage. Vedas exposure as the murderer reveals a young femme
fatale with cold ambition and disregard.

The femme fatale is also often angry and violent not afraid to wield
guns, Place argues this particular iconography displays femme fatales phallic
power with the visuals emphasising how she is explicitly sexual and explicitly
violent (1998: 54). Out of the Past (1947) arguably features the truest femme
fatale (Wager, 2005: 53) in the form of Kathie Moffat (Jane Greer). Told in
flashback by Jeff Bailey (Robert Mitchum), the story revolves around his hiring
by Whit Sterling (Kirk Douglas) to track down Kathie. Finding her, Bailey and
Moffat fall in love and escape from Whit. Denying that she ever stole Sterlings
money, a former partner of Jeff tracks them, resulting in Moffat killing him
without remorse and running away. This leaves Jeff to bury the body, finding
out that Kathie did take Whits money after all. When Jeff finds out that she
has returned to Whit he finds himself in a frame with no escape after Whits
murder the two run again only for it to result in disaster on both parts.
Out of the Past arguably presents the truest form of the femme fatale in
control Kathie dictates events, declaring to Bailey Im running the show
dont forget, controlling meetings and deciding when to ensnare Bailey into
her sexual games. As Wager argues Kathies activity, wholly selfish, seeks to
secure her own future (ibid: 55) Jeffs breaking of his deal with Whit places
Kathie in control, with Bailey blinded by her sexuality and his love. Kathie
even takes pleasure in violence when his former partner turns up her face
displays narcissistic enjoyment of the men fighting over her, stating Why
dont you break his head, Jeff? As the fight plays out in shadows that dance
across her face she holds a gun and is not afraid to use it. In Jeffs
idealisation of Kathie, he has lost what control he had and thus she becomes
a threat not only to his masculine identity, but to his survival.
Out of the Past also features a prominent example of the woman as
redeemer that Kaplan cites as being important in providing a contrast to the
femme fatale. Ann is Baileys girlfriend at the beginning of the narrative; she is
the nurturer, the plain, safe girl that loves the hero unconditionally. The
woman as redeemer occurs in several forms throughout the noir cycle she
offers the possibility of integration for the alienated, lost man into the stable
world of secure values, roles and identities (Kaplan, 1998: 60). However, as
in most noirs the femme fatale proves too tempting for the male hero and he
finds himself ensnared. As Christopher notes the femme fatale is nearly
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always the more intriguing and energetic figure (cited in Wager, 2005:12) in
contrast to the out of place, bland nurturer. Kathie was one of film noirs most
lethal femmes fatales (Crowther, 1990: 125), who totally lacked in morals,
striving for self-gain, yet like other Spiderwomen, seemed to fit into this world.
These femme fatales proved that roles were available for women to
play active, exciting characters that pushed the boundaries and dominated
screen space. Snyder argues these women have helped to create a certain
cultural image for some real-life women of the 1940s and 1950s (2001: 165).
Those cinema seductresses and their annihilation capacity could be
overdrawn, cynical, precursors of the liberated woman of the Sixties (ibid:
166). Arguably, the action woman we see on our screens are indebted to
these femme fatales and their daring attitude. Copjec (1993:193) argues,
these women had a strength, a kind of privilege and command over the
diegetic space that most of their cinematic sisters did not, arguably providing
a world where women counted and were in control.
One has to emphasise through this analysis of classic film noir that
though most protagonists were male, it didnt exactly mean they owned,
thrived or survived in that world. The femme fatale and her actions set the
path which the noir male followed, which sometimes resulted in his demise
also. She was the prize that could never really be won, for it is her
independence and freedom she wanted above all else. Arguably, there isnt
evidence in the noir narrative that after the femme fatales ultimate removal
society returns completely to normal. Even Krutniks exploration has to admit
that in many instances there is a failure convincingly to demonstrate a return
to the security and supremacy of the masculine (1991: 65).
Ultimately, film noir disavows classical cinemas tropes of dominant
men and subordinate women. Noir made stars out of the likes of Barbara
Stanwyck, Jane Greer, Gloria Grahame and Veronica Lake. These women
against the odds, made a huge and dramatic impression upon audiences and
engineered a major change in the perception of women in popular cinema
(Crowther, 1990: 115) - it would be interesting, for further research, to explore
in-depth how audiences at the time saw these new women on their screens.
Though Bruce Crowther argues that film noir is predominantly a mans
world he concedes that women were able to make a significant mark through
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strength of character, ambition, determination, some challenging roles, and a

compelling ability to exploit the power of their sexuality (Crowther, 1990:138).
Film noir belongs as much to the femme fatale who was, ultimately and
unforgettably, crucial to the plot.

Bibliography.
Bordwell et al (1988) The case of film noir in The Classical Hollywood
Cinema. London: Routledge.
Cook, P (1998) Duplicity in Mildred Pierce in Kaplan, E.A (ed) Women in film
noir. BFI.
Copjec, J (ed) (1993) Shades of Noir. London: Verso.
Crowther, B (1990) Film Noir: Reflections in a Dark Mirror. Virgin Books.
Doane, M.A (1992) Femmes Fatales: Feminism, Film Theory,
Psychoanalysis. Routledge.
Hannsberry, K.B (1998) Femme noir: Bad girls of film. London: McFarland.
Kaplan E.A (1998) Women in film noir. BFI.
Krutnik, F (1991) In a Lonely Street: film noir, genre, masculinity. London:
Routledge.
Naremore, J (1998) More than Night: film noir in its contexts. London:
University of California Press.
Place, J (1998) Women in film noir in Kaplan E.A (ed) Women in film noir.
BFI.
Schrader, P (1972) Notes on film noir in Silver, A and Ursini, J (eds) (2003)
Film Noir Reader. New York: Limelight pp 53-63.
Silver, A and Ursini, S (eds) (1999) Film Noir Reader 2. New York: Limelight
Editions.
Snyder, S (2001) Personality disorder and the noir femme fatale in Journal of
Criminal Justice and Popular Culture. Vol. 8 (3) pp. 155-168.
Spicer, A (2002) Film Noir. Harlow: Longman.
Wager, J.B (2005) Dames in the Drivers Seat: Rereading film noir. Texas:
University of Texas Press.

Filmography.
Double Indemnity (1944) Directed by Billy WILDER.USA: Paramount Pictures.
Kiss Me Deadly (1955) Directed by Robert ALDRICH. USA: United Artists.
Mildred Pierce (1945) Directed by Michael CURTIZ. USA: Warner Bros.
Murder My Sweet (1944) Directed by Edward DMYTRYK.USA: RKO Pictures.
Out of the Past (1947) Directed by Jacques TOURNEUR.USA: RKO Pictures.

The Killers (1946) Directed by Robert SIODMAK. USA: Universal Pictures.

The Malteste Falcon (1941) Directed by John HUSTON. USA: Warner Bros.
The Postman Always Rings Twice (1946) Directed by Tay GARNETT.USA:
MGM.
Scarlet Street (1945) Directed by Fritz LANG. USA: Universal Pictures.
Sunset Boulevard (1950) Directed by Billy WILDER. USA: Paramount
Pictures.

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