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A femme fatale (plural: femmes fatales) is an alluring 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 archetypal character of literature and art. Her ability to entrance and hypnotize her male victim was in the earliest stories seen as being literally supernatural, hence the most prosaic femme fatale today is still described as having a power akin to an enchantress, vampire, female monster or demon. The ideas involved are closely tied to fears of the female witch and misogyny.

The phrase is French for "deadly woman." A femme fatale tries to achieve her hidden purpose by using feminine wiles such as beauty, charm, and sexual allure. Typically, she is exceptionally well-endowed with these qualities. In some situations, she uses lying or coercion rather than charm. She may also be (or imply to be) a victim, caught in a situation from which she cannot escape; The Lady from Shanghai (a 1948 film noir) giving one such example. Her characteristic weapon, if needed, is frequently poison, which also serves as a metaphor for her charms.

Although typically villainous, femmes fatales have also appeared as antiheroines in some stories, and some even repent and become heroines by the end of the tale. In social life, the femme fatale tortures her lover in an asymmetrical relationship, denying confirmation of her affection. She usually drives him to the point of obsession and exhaustion so that he is incapable of making rational decisions.

In the Middle Ages, the idea of the dangers of female sexuality, typified by Eve, was commonly expressed in medieval romances as a wicked, seductive enchantress, the prime example being Morgan le Fay.

The femme fatale flourished in the Romantic period in the works of John Keats, notably La Belle Dame sans Merci and Lamia. Along with them, there rose the gothic novel, The Monk featuring Matilda, a very potent femme fatale. This led to her appearing in the work of Edgar Allan Poe, and as the vampiress, notably in Carmilla and Brides of Dracula. The Monk was greatly admired by the Marquis de Sade, for whom the femme fatale symbolised not evil, but all the best qualities of Women, with Juliette being perhaps the earliest novel wherein the femme fatale triumphs. Pre-Raphaelite painters frequently used the classic personifications of the femme fatale as a subject.

In the Western culture of the late nineteenth and early twentieth centuries, the femme fatale became a more fashionable trope, and is found in the paintings of the artists Edvard Munch, Gustav Klimt, Gustave Moreau, and the novels of the Frenchman Joris-Karl Huysmans. In À rebours are these fevered imaginings about an image of Salome in a Moreau painting:

    No longer was she merely the dancing-girl who extorts a cry of lust and concupiscence from an old man by the lascivious contortions of her body; who breaks the will, masters the mind of a King by the spectacle of her quivering bosoms, heaving belly and tossing thighs; she was now revealed in a sense as the symbolic incarnation of world-old Vice, the goddess of immortal Hysteria, the Curse of Beauty supreme above all other beauties by the cataleptic spasm that stirs her flesh and steels her muscles, - a monstrous Beast of the Apocalypse, indifferent, irresponsible, insensible, poisoning.[3]

In fin-de-siecle decadence, Oscar Wilde re-invented the femme fatale in the play Salome: she manipulates her lust-crazed uncle, King Herod, with her enticing Dance of the Seven Veils (Wilde's invention) to agree to her imperious demand: bring me the head of John the Baptist. Later, Salome was the subject of an opera by Strauss, was popularized on stage, screen, and peep-show booth in countless reincarnations.[4]

Another enduring icon of womanly glamour, seduction, and moral turpitude was Mata Hari, 1876 - 1917, an alluring oriental dancer who was accused of German espionage and was put to death by a French firing squad. As such, she embodied the femme fatale archetype, and, after her death she became the subject of much fantastical imagining. She was the subject of many sensational films and books.

20th century film, opera, etc

The femme fatale has been portrayed as a sexual vampiress; her charms leach the virility and independence of lovers, leaving them shells of themselves. Rudyard Kipling was inspired by a vampiress painted by Philip Burne-Jones, an image typical of the era in 1897, to write his poem "The Vampire". Like much of Kipling's verse it was incredibly popular, and its refrain: "A fool there was...," describing a seduced man, became the title of the popular 1915 film A Fool There Was that made Theda Bara a star. The poem was used in the publicity for the film. On this account, in early American slang the femme fatale was called a vamp, short for vampiress.[5]

From the American film audience perspective, the femme fatale often was foreign, usually either of an indeterminate Eastern European or Asian ancestry. She was the sexual counterpart to wholesome actresses such as Lillian Gish and Mary Pickford. Notable silent cinema vamps were Theda Bara, Helen Gardner, Louise Glaum, Musidora, Nita Naldi, Pola Negri, and in her early appearances, Myrna Loy.

During the film noir era of the 1940s and 1950s, the femme fatale flourished in American cinema. Examples include the overly-possessive and narcissistic wife Ellen Brent Harland, portrayed by Gene Tierney, in Leave Her to Heaven (1945), who will stop at nothing to keep her husband's affections. Another is Brigid O'Shaughnessy, portrayed by Mary Astor, who uses her acting skills to murder Sam Spade's partner in The Maltese Falcon. Yet another is the cabaret singer portrayed by Rita Hayworth in Gilda (1946), who sexually manipulates her husband and his best friend. Another noir femme fatale is Phyllis Dietrichson, played by Barbara Stanwyck, who seduces a hapless insurance salesman and persuades him to kill her husband in Double Indemnity (1944). In The Paradine Case, a Hitchcock movie from 1947, the character played by Alida Valli is a poisonous femme fatale who is responsible for the deaths of two men and the near destruction of another. One often referred to example is the character of Jane in 1949's Too Late for Tears, played by Lizabeth Scott. During her quest to keep some dirty money from its rightful recipient and her husband, she uses poison, lies, sexual teases and a gun to keep men around her finger.

Other American cultural examples of deadly women occur in espionage thrillers, and juvenile adventure comic strips, such as The Spirit, by Will Eisner, and Terry and the Pirates, by Milton Caniff. Today, she remains the key character in films such as Body Heat, with Kathleen Turner, The Last Seduction, with Linda Fiorentino, Fatal Attraction, with Glenn Close, and Basic Instinct, with Sharon Stone.

In popular culture

In contemporary clture, the femme fatale survives as heroine and anti-heroine, in Nikita and Moulin Rouge!, as well as in video games and comic books. Elektra, a character from Marvel Comics, Fujiko Mine from Lupin the 3rd, Catwoman and Poison Ivy from the Batman stories, and EVA from Metal Gear Solid 3 are examples. The protagonists of the American television program Desperate Housewives use sexual allure to get what and whom they want. A modern example of the archetypal femme fatale is Xenia Onatopp, the character from Goldeneye who seduced men and then murdered them by crushing them between her thighs.

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