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Let’s take a look at some great Femme Fatale flix—you know the attractive, seductive woman who will ultimately bring disaster to a man (or men) that becomes involved with her. Our first look: The Last Seduction (1994) staring Linda Fiorentino, Peter Berg, and Bill Pullman.

When the discussion of Femme Fatale films came up the first movie we here at JPFmovies immediately thought of was The Last Seduction.  Many of you probably never heard of it because even though Fiorentino’s performance generated talk of an Oscar nomination, she was deemed ineligible because the film was shown on HBO before it was released into the theaters.  October Films and ITC Entertainment sued the Academy, but were unable to make Fiorentino eligible for a nomination.  So, the film went right from HBO to DVD—what a waste.

To say The Last Seduction is a neo-noir erotic thriller doesn’t do the film justice.  It is an outstanding example modernizing the traditional stereotype of the deadly women of classic fim noir that were generally disliked, detested, and sometimes hated by patriarchal society.  Here the Director and Fiorentino bring some of the enduring cultural images of the femme fatale while bestowing her with modern, distinguishing characteristics.

 

The film opens with, Bridget Gregory (Fiorentino) pressuring and scolding the salesmen in some boiler-room telemarketing office in New York City selling worthless coins.  She knows how to use the hard sell, close deals, and manage men with fear and degradation.  She runs a tight and ruthless ship.  After work, she races to her apartment to see if an important deal her medical school husband made selling $700,000 worth of pharmaceutical grade cocaine to some street thugs paid off.  It did, the husband (Bill Pullman) had to stuff the 700K in his jacket on the way home, After Bridget makes some rude remark to her husband, he gives her a pretty good smack across the face which seems to set the wheels of this tale of deceit in motion.

While her husband is taking a shower, Bridge to use a phrase from the Steve Miller Band “go on take the money and run.”  Naturally her husband is upset but does not seemed too surprised.

 On her way to Chicago, Bridget stops in a small town called Beston to gas up. It’s in a nearby bar that we – and Bridget – meet the film’s third principal character, Mike Swale (played to naive, lustful perfection by Peter Berg). In the bar, Bridget’s order is ignored by the bartender, and, instantly attracted to her dark good looks, Mike Swale gallantly steps in to help. Bridget, however, is not interested. “Could you leave?  Please?” she asks. “Well, I haven’t finished charming you yet,” Mike responds, to which Bridget retorts: “You haven’t started.” Still endeavoring to win Bridget’s heart – or some part of her – Mike informs her that he’s “hung like a horse.”  Perhaps wishing only to amuse herself, perhaps with other, more far-reaching plans in mind, Bridget asks to see for herself, unzips his pants right in the bar, and then fires off a series of questions: how many lovers has he had? Have any been prostitutes? Does he have his own place? Does it have indoor plumbing? Before long, the two are in Mike’s apartment.  He is now under her spell.

As the movie progresses, an evil disorder dwells deep within Bridget. She seems to scorn men. She uses men to her advantage, catching them, conquering them, and bending them to her will. She values money, power, and independence over relationships. She enjoys humiliating men, deriding them as ‘eunuchs,’ ‘Neanderthals,’ ‘maggots,’ and ‘sex objects.’ A trace of revenge lurks in Bridget’s behavior towards the opposite sex.

Bridget continues to exhibit her psychopathic behavior, cunning and naked ambition.  As the film progresses we see that Bridget Gregory, is total bitch. Hot, genius smart, kinky and slinky. Feline and ruthless. Politically incorrect chain smoker. New York City telemarketer/con artist. Catty call floor conniver. Rough Rider floor boss. And I mean all of that as a compliment.

Interesting enough we try to find a linkable character in the film but no one comes to this dance with clean hands.

We could go on for pages but there will be no spoilers here.  You need to make the time watch The Last Seduction, you are getting the JPFmovie seal of approval that it is worth watching.

 
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Posted by on July 14, 2017 in Movie Reviews

 

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Princessofpaperclips gets all pissed off about The Millionairess.

Fragments of a Self

A Review of Anthony Asquith’s Film The Millionairess

The stereotypes of women in this film are more dominant than its plot. The Millionairess, based on George Bernard Shaw’s play, starred Sophia Loren and Peter Sellers, and was released in Britain in 1960. Packed into a mere ninety minutes, Epifinia the protagonist appears in a variety of ubiquitous female roles: an object, a child, the wild woman, and an emotional, irrational wreck. At best, she is difficult to take seriously; at worse she is a capable woman, trying desperately to mask her intelligence. Kabir (Sellers) is largely a foil character, as the film largely revolves around Epifinia’s internal struggles.

“Long live the Millionairess” …Immediately we realize possessions define Epifinia, rather than defining her by character or accomplishments. Her identity depends upon her wealth; not even money she earned, but that bequeath to her by a man. At the reading of her father’s will, she is told her inheritance is contingent upon her obedience to his wishes. Even after his death, he has power over her.

The first glimpse we get into the erratic life of Epifania is outside of her apartment. The door ajar, Epifinia and Alastair, her husband, argue. He shouts she must “obey” him, because “I am your husband”.  Epifania resists dominance by throwing him out, followed by a plate, which barely misses his head. The room is trashed.  Her hair is in disarray, her dress is ripped nearly exposing her breast. The front of her skirt is torn, inches short of revealing her crotch. This creates a link between resisting male authority and hyper sexuality. In Sagamore’s office, she crawls across the floor like an animal with a broken chair leg in her fist, reinforcing this. There is a deliberate connection between her animalistic behavior and resistance to the dominant paradigm.
Portraits of her father and husband loom over Epifinia in the foyer. A voice echoes from the painting admonishing her for “disobeying me”. She kneels subserviently in front of the painting. Epifinia begs the painting for advice- insecure about her ability to make her own decisions, wanting someone to take care of her, as if she were a child. Her choice of clothing is bright, childlike, and ridiculous, making it impossible to view her as an adult and not as a decorative object.

Kabir pulls Epifania out of the river, bringing her to a fish smokers to change into dry clothes. She seeks attention, initially throwing her dress and later her undergarments at him, visibly frustrated when he ignores her. She tries to seduce him by feigning illness, insisting he check her pulse, shoulder and back while she removes more and more of her loosely draped coat. Throughout the film she attempts to use her sexuality to gain attention.

Occasionally, Epifania surprises the viewer by acting out of character. Her anger is aroused when the psychologist insults her father. She throws him to the ground and in the river. In addition to physical strength, she is also quite intelligent, spearheading an operation to build a clinic in Calcutta. When she takes on Kabir’s challenge to work for three months, she is analytic, pragmatic, and clear headed. If she is able to demonstrate this level of competency and clarity, we assume she is playing the ditz the remainder of the film. Sadly, we later learn that her motivation in building the clinic was to entice Kabir, hoping to gain his approval and increased physical proximity. Her business savvy at the pasta shop grows from a desire to win the affections of Kabir. None of this is prompted by an interest to create, strive, or succeed on her terms. The only time she makes a decision that addresses her own needs, is after Kabir rejects her. At that point she decides to establish a deliberate community of women, to will live out her days away from men.

It is interesting that Shaw inserts a character like Kabir as the object of Epifinia’s desire. He is selfless, altruistic and sincere in his role as humanitarian doctor. He ignores Epifinia’s coquettish behavior, scolding her for wasting his time. Kabir states her “sickness is beyond my skills”, calling her an “imaginary invalid” when she plays sick to gain attention.  He states his worldview as “being, not having”, telling Epifinia “power must come from within”, rather than from the possession of money and objects.
During the denouement, Kabir is told that Epifinia “will withdraw from the world at midnight”, which he interprets as an allusion to suicide. He swiftly enters, as Epifinia is ready to depart for her hermitage.  Kabir attempts to stop what he perceives as a suicide attempt, when she is really leaping into a boat from a ledge. At the last moment, Kabir proclaims his love for Epifinia and then they dance off…living “happily ever after”. Which is hard to believe, based on the storyline up until this point. I would find it hard for a man with Kabir’s values and sense of self to resign himself to the lack of such in Epifinia.

 
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Posted by on December 17, 2010 in Movie Reviews

 

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