This paper looks at the issue of the role of women in film noir, concentrating on Orson Welles' 'A Touch of Evil' and Ridley Scott's 'Blade Runner'.
Written in 2008; 750 words; 2 sources; MLA; $ 26.95
Paper Summary:
In this article, the writer studies two films Orson Welles' 'A Touch of Evil' and Ridley Scott's 'Blade Runner' and discusses women's place in film noir. The writer maintaints that Ridley Scott's film 'Blade Runner' is a perfectly constructed homage to the film noir genre. The writer discusses that Welles' 'Touch of Evil' and Scott's film both star a loner detective chasing villains through a spiritually bankrupt and morally corrupt society. Furthermore, the writer notes that both employ women in one of two archetypal film noir roles--in the case of Welles' "Susie"--that of the dutiful woman or Scott's "Rachael" as femme fatale. The writer concludes that although this treatment of women is standard throughout the genre, Welles' and Scott's films are unique, in that the two depict both the nurturer and the femme fatale, as portrayed by a single character.
From the Paper:
"Welles employs the same techniques to paint Susie as virginal, innocent, and good, as he does to contrast Vargas with the corrupt and sinister Grandi or Quinlan. Throughout the film, Susie is attractively lit with the three-point lighting method used in classic Hollywood cinema, while criminals and the corrupt are shown in relative shadow. In addition, these characters are often depicted with low-angle shots that only serve to emphasize their craggy skin and physical imperfections, suggesting an equally flawed and ugly interior. Conversely, Susie is shot head-on--her beauty emphasized to reinforce her role as good, innocent, and beautiful, both inside and out."
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