Titre
Movies: A Psychological Study (Facsimile of the 1950 edition)
Auteur
Wolfenstein, Martha & Leites, Nathan
Langue
néerlandais
Éditeur
Hafner Publishing Company,
Prix
€ 22,00(Excl. toute livraison)
Détails
1971. 316 blz., geïllustreerd met zwart-wit foto's.Originele hardroze linnen uitgeversband met zwartopdruk.
Plus d'informations
Tekstfragment (blz. 37-39):
Among the bad girls who come to no good is the hero's wife in The Blue Dahlia. The hero returns from the war to find her drunk in the midst of a wild party, and on terms of obvious intimacy with an older man who later turns out to be a gangster. After the party has dispersed, she tells her husband that their baby was killed in an auto accident caused by her drunken driving. In The Big Sleep, the sister of the heroine is a nymphomaniac and has killed a man who repulsed her advances. The title character in The Strange Love of Martha Ivers has a long list of crimes to her credit. She has murdered her aunt and let someone else hang for it; she has taken possession of the vast fortune of the murdered aunt; she has married a man she loathes in order to cover up her crimes and has driven him to drink by her contempt.
When the hero appears, she immediately wants to make love to him, a gesture which, according to an unchecked statement of her husband's, is habitual with her. And she attempts alternately to kill the hero and to get the hero to murder her husband. In each of these cases, the bad girl loses out to a good-bad girl who is equally attractive and less harrowing to have around.
The most forbidding feature of the bad girl, even more than promiscuity or crime, is that she coldly uses men, or at least is willing to sacrifice them for her own advantage. The bad woman in Johnny Angel has married a rich ship-owner whom she despises, and forces him to board a ship and kill the whole crew to steal a cargo of gold for her. She shows no regard for his protest that being on a ship makes him sick. In The Killers, the bad woman allows the hero to go to jail for a theft she committed, and then dupes him into taking the blame for a grand larceny from which she and her husband get all the benefit.
For the current bad girl, love comes second. More brutal than the old-style roue who cast aside the women he tired of, she is ready, at any moment, to kill the man she loves if he becomes a threat to the security of her criminal career. The murderess in Framed is making coffee for the hero, whom she loves. As he seems to be making some objection to helping her cover up her crimes, she is about to put poison in his coffee.
The conversation takes a more reassuring turn, and she puts the poison back on the shelf. They proceed to an affectionate breakfast. In Dead Reckoning, the girl who has committed murder and grand larceny is secretly married to her partner in crime. She falls in love with the incorruptible hero but tries to kill him when he uncovers the truth about her. These girls justify their actions by stories of early deprivations. They had to work as waitresses or model beautiful clothes for other women to wear. They have felt these hardships as so cruel and unusual that anything is justified which ensures escape from such a life. Where the vamp was a kept woman, the current bad girl uses her lovers as witting or unwitting partners in crime. Coldly self-centered and controlled, she does not run the risk, as the vamp did, that unanticipated feelings of love will disrupt her exploitative way of life.
She is not subject to any conflict; it is quite clear what comes first. However, she is not a woman with only one interest. As long as her man is useful to her income and safety, or at least not dangerous to them, the pleasure she gets from her relation with him occupies a major place in her life. The hero, on his side, suffers no conflict in relation to her. The lover of the vamp tended to be drawn into a guilty abandonment of honor for her sake. The hero who loves the current bad girl turns her over to the police as soon as he learns about her crimes. In Framed, the hero turns up with the police just as the girl is taking out of a safety deposit box her long-dreamed-of fortune, which she had offered to share with him.
In Dead Reckoning, the girl tries to persuade the hero to go away with her instead of turning her over to the police. He refuses and she tries to shoot him. They struggle, the car in which they are driving is wrecked, and she is fatally injured. In the hospital, he holds her hand while she dies. The hero may resist the bad girl even though there is no one to take her place, as in the two films just mentioned. In a world where the good-bad girl is an ever-present possibility, he presumably feels no need to accept the unfavorable terms proposed by the bad girl.
These bad girls, however, are not entirely unsympathizable. The world threatened to withhold from them the luxury which they felt was their due, and they look very beautiful in the furs and jewels which they had to commit murder to obtain. While the hero brings love into their lives for the first time, and this really matters, they cannot abandon their previous interests.
In this, they are unlike the vamp or prostitute redeemed by love, who abandons all her previous aims. The bad girl tries to satisfy two sets of values, and does not lose sight of the first for the sake of the second. The inadequacy of love without the material comforts that one must murder to obtain is demonstrated by the bad girl in The Postman Always Rings Twice.
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