A Femme Fatale (french for “Fatal Woman”) is a mysterious and seductive woman. Whose charms ensnare her lovers in bonds of irresistible desire, often leading them into compromising, dangerous, and deadly situations. She is an archetype of literature and art. Her ability to entrance and hypnotise her victim with a spell was in the earliest stories seen as being literally supernatural; hence, the femme fatale today is still often described as having a power akin to an enchantress, seductress, vampire, witch, or demon, having power over men. The phrase is French for “fatal woman”. A femme fatale tries to achieve her hidden purpose by using feminine wiles such as beauty, charm, and sexual allure. In some situations, she uses lying or coercion rather than charm. She may also make use of some subduing weapon such as sleeping gas, a modern analog of magical powers in older tales. She may also be (or imply that she is) a victim, caught in a situation from which she cannot escape. Often portrayed in Hollywood’s Film Noir, during the 40s and 50s.
In this scene from The Story of Vernon and Irene Castle (1939), Fred Astaire and Ginger Rogers sneak an open-mouthed kiss past the Hays Code. Because the scene was filmed in the dark, the censors didn’t catch the kiss, but now, viewed frame-by-frame, it definitely was a French kiss. First of all, notice how Ginger doesn’t completely close her mouth as Fred starts leaning in for the kiss. She keeps her lips parted just enough so that he can slip his tongue through. If you look really closely, you can see how Ginger’s bottom lip quivers just a little bit in anticipation of the kiss. In response, Fred puckers his lips just a little — but not in a stiff manner. The two of them finally do kiss, and it is a bit difficult to see, but as they shift position, Fred moves his jaw so that it is a French kiss. (via fuckyeahfredandginger)
Lucille Ball and Desi Arnaz
Lucille Ball, Rita Hayworth, Esther Williams, Merle Oberon, Janet Blair, Judy Garland, June Allyson, Cindy Garner, Lana Turner for Max-Factor
Ava Gardner on the set of On The Beach. Photos by Wayne Miller, 1959.
“ Dean Martin became involved in Something’s Got to Give after Marilyn picked him; in some reports he had invested a personal stake in the production.
Dean gallantly stood up for his friend after she was dismissed by 20th Century Fox. The studio hired Lee Remick as Marilyn’s replacement, but Dean invoked a clause in his contract allowing him approval of his opposite number, and informed the studio that he would not work with anyone except Marilyn on this picture.
Fox sued Martin, Martin sued Fox, and then the picture was put back on track, to no small degree because of Dean’s intransigence and support for Marilyn. ”
- extract from The Marilyn Encyclopedia by Adam Victor
*shows up at ur door 10 years after we had an argument* aND ANOTHER THING
Joan Crawford in Flamingo Road (1949) Dir: Michael Curtiz