#femme fatale
“I want to know about those twisted, kinky secrets you’re too ashamed and scared will be exposed. Just one sniff of my confessional juice and all your fears melt away.”
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“You wake up bound and gagged in your own living room, but the hot businesswoman is gone. Now, standing before you is the super assassin, Agent Ceara, here to take back all that money you stole from her boss.“
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“I guess it runs in the family. We just have a weakness for dominating Alpha Males ramming our holes with their massive dicks. Girls like us need a fat cock to be pleasured.“
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“You’re scum, a vile waste of life unworthy of being in my presence. Why couldn’t all boys have been eliminated at birth?“
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“I specialize in dealing with men and releasing their most vital secrets. What, now you don’t want me to ruin your life anymore? Sniff some pop-pers and I’m sure you’ll change your mind…“
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“As a final treat before I initiate you into my flock of mindless servants, I’ll let you cum one last time before you’re locked up for the rest of your life.”
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“You might look like a grown man, but your mind is barely a toddler. You’ll need a big strong mommy to take care of you from now on.”
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On 12th of April 1928 Madeleine Smith who stood trial in one of Scotland’s most sensational trials died peacefully in New York
Sex, blackmail, poison and death. With this heady mix it is hardly surprising that one of the most enduring murder cases from the past 150 years is the story of Madeleine Smith.
The 21-year-old lass was the daughter of a well known Glasgow architect and socialised in high circles until she was charged with the murder of a previous lover.
Her one-time lover had been Pierre Emile L’Angelier of Jersey. The Crown alleged that she had administered arsenic to him between 19th February and 23rd March that year, at or near her father’s house. L’Angelier had collapsed suddenly at his lodgings in Glasgow on 23rd March. He was found in a doubled-up position at the door in the early hours of the morning and despite constant medical attention by a doctor he died the following day.
After his death, his family insisted a post-mortem was conducted and the results were handed over to the police. A forensic examination detected over 30 grains of arsenic in his remains.
Previously, during their passionate affair, L’Angelier and Madelaine had corresponded through secret letters. L’Angelier often referred to his lover with the words “Wifie mine”. On one occasion Madelaine had written, “Am I not your wife? Yes, I am”, and there is reason to believe that L’Angelier assumed that they were married according to Scots law.
After L’Angelier’s death investigators uncovered the secret correspondence between the pair which revealed their passionate liaison and helped piece together the events surrounding L’Angelier’s suspicious death. It was discovered that, despite her affair with L’Angelier, Madelaine had been attracted to a Mr Minnoch, a high class member of society. Soon after, she became engaged to Mr Minnoch and wanted L’Angelier to return the letters. L’Angelier refused and threatened to bring them to the attention of her father and Minnoch. Madelaine buckled under the threats, and was forced to maintain L’Angelier’s company. His nightly visits resumed, but on two occasions he was seized with an inexplicable illness after being given a cup of cocoa from her hands. On the evening of his death witnesses testified that he had been seen heading in the direction of Madelaine’s house.
On her arrest Madeline’s family were said to be distressed and ashamed, however Miss Smith did not seem to suffer from the same discomfort. At her trial she entered the dock with “the air of a belle entering a ballroom or a box at the opera. Her steps were buoyant and she carried a silver-topped bottle of smelling salts. She was stylishly dressed and wore a pair of lavender gloves”.Throughout the trial she never appeared perturbed, and seemed to exert a peculiar fascination over the men in the court audience. She was later to tell her prison matron in a letter that she had received hundreds of letters “all from gentlemen, offering consolation, their hearts and money”.
Madelaine claimed that she had not seen L’Angelier for three weeks prior to his death. In her defence she explained that a poison she had recently purchased was for killing vermin and also for cosmetic purposes, diluted with water, to wash her face, arms and neck. The prosecution case rested on the overwhelming motive that the prisoner had for disposing of her erstwhile lover. The defence proceeded to allege that there was no evidence that the couple ever met on the days in question. It was even suggested that the heartbroken L’Angelier may have taken his own life in despair.
The jury took only half an hour over their deliberations. While they were absent, it was said that the least excited person in the court was Miss Smith. When the foreman delivered a verdict of “not guilty of the first charge by a majority, of the second charge not proven, and by a majority find the third charge also not proven”, the result was greeted with great applause. Madelaine Smith left the trial a free woman.
A short time after the trial, Miss Smith married a gentleman of good social standing in London. She emigrated to America some years later, where she married yet again. The story was famous in Victorian times for the reason that the public could not believe that a woman could be so devious. Madelaine became something of a femme fatale and was sensationalised as a devil woman who captured unsuspecting men in her web of deceit. There are still stories and articles written about her, the latest being in The Courier last November.
https://www.thecourier.co.uk/fp/entertainment/2738490/madeleine-smith/
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We’re after the drawing-room type. An English girl, looking like a schoolteacher, is apt to get into a cab with you and, to your surprise, she’ll probably pull a man’s pants open.
- Alfred Hitchcock on his infamous ‘Hitchcock blonde’ typecasting as told to Francois Truffaut
Alfred Hitchcock relished placing his ice blonde heroines in jeopardy. He broke them down emotionally, and even physically. Preoccupied with manipulating their screen images - dictating the tiniest details of costume, coiffure, makeup and shoes - Hitchcock eventually strove to control their private lives as well.
“I always believe in following the advice of the playwright (Victorien) Sardou,” Hitchcock once confessed. “He said, ‘Torture the women!’ The trouble today is that we don’t torture women enough.”
The Hitchcock Blonde reached her apex in three films with Grace Kelly (Dial ’M’ for Murder, Rear Window, To Catch a Thief). Kelly epitomized his idée fixe: the ice goddess who could unleash unexpected flames of passion. The camera, standing in for Hitchcock, clearly worships her.
Alfred Hitchcock was obsessed with possession. A reoccurring motif throughout his films is of a man possessing a woman, or in the case of Vertigo: a spirit possessing a woman, ending up with a male trying to possess her.
Hitchcock’s attitude toward this ideal darkened after what he perceived as betrayals: Kelly’s abandoning acting to marry Prince Rainier of Monaco; and Vera Miles’ opting for pregnancy rather than starring in Vertigo, which Hitchcock had planned as her breakthrough role.
Vertigo was his most autobiographical work. James Stewart played Scottie, a man obsessed with Kim Novak’s Madeleine, who was herself haunted. After her death, Scottie forces an unwilling second woman (Judy, also played by Novak) to duplicate every aspect of the dead woman’s attire and hairstyle. The plot creepily echoed Hitchcock’s domination of his female stars. Vertigo’s recurring shot of a tightly wound coil of ash-blonde hair atop Novak’s head encapsulates the theme of obsession. It’s a hypnotic vortex into which Stewart (or Hitchcock) could fall and disappear forever.
InPsycho, Hitchcock treated his blonde viciously, killing off Janet Leigh’s pert embezzler less than halfway through the film. The shower murder was widely regarded as the most shocking act in film history up to that point.
With Tippi Hedren, star of The BirdsandMarnie, his obsession finally spun out of control, like the berserk carousel at the climax of Strangers on a Train. He discovered Hedren in a TV commercial. A model, she had no plans for an acting career. Signing her to an exclusive contract, he launched his most intensive and intrusive campaign to play Pygmalion, as detailed in Donald Spoto’s biography The Dark Side of Genius.
Hitchcockian men would go to any length to gain possession of their female leads. In Marnie, where Mark (Sean Connery) blackmails Marnie (Tippi Hedren) into marriage and rapes her during their honeymoon. In her memoir, Hedren writes that it was a widespread belief that, “the rape scene that had driven Hitchcock to make Marnie in the first place, that a man taking his frigid, unattainable bride by force was Hitchcock’s fantasy about me.”
Hitchcock’s need to control Hedren extended the instructions he gave on set: “Do not touch The Girl.” A simple conversation with a male cast or crew member would result in Hedren receiving an icy reaction from Hitchcock, or vulgar limerick recited. And when Hedren rejected Hitchock’s touch, he answered in two ways: forcing himself on her and then refusing to let her work.
Hedren writes:
“I’ve never gone into detail about this, and I never will. I’ll simply say that he suddenly grabbed me and put his hands on me. It was sexual, it was perverse, and it was ugly, and I couldn’t have been more shocked and more repulsed. The harder I fought him, the more aggressive he became. Then he started adding threats, as if he could do anything to me that was worse than what he was trying to do at that moment.”
Hitchcock followed through with his threat of trying to ruin her career by not casting her in any more of his films after Marnie, while at the same time not letting her out of her contract. A classic case of a rejected man: if he couldn’t have her, no one could.
More so than any other artist, Hitchcock isn’t only given possession of the themes and actors inside the frames of his own films, but also other peoples’ films, real life events, and actual people. I expect Hitchcock would be very happy about his ability to possess, even if it’s only grammatical. His birds. His suspense. His Marnie. But also: Hitchcockian suspense; a Hitchcockian conspiracy; Hitchcockian composition. Hitchcock blondes. It would make sense to refer to hair dyed an Yves Klein blue a Klein blue, but a Hitchcock blonde? Hmmm. Many film historians and critics would say that Hitchcock did not invent the blonde; Jean Harlow did.
**Photos: Grace Kelly and Tippi Hedren, two of the archetypal ‘Hitchcock blonde’.
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Philippossian Automobiles. 1920. Charles Loupot.
50 ¾ x 35 3/8 in./128.8 x 90 cm
A flame-haired Femme Fatale, dressed in black, launches this midnight-blue beast of an auto into the foggy night: a masterpiece! Exceptionally rare, this poster finds Loupot at the absolute apex of his transition period between Switzerland and France, between domestic traditionalism and aggressive Modernist experimentation. According to Loupot’s son, Jean-Marie, until this point Loupot was hired by printers; this was likely his first direct commission from the advertiser (alongside his wildly successful Philippossian Cigarettes, see PAI-LXX, 443). The typeface, with which he’d been experimenting with since at least the previous year (see “Plantol,” PAI-XXI, 270) now achieves a refined state of Deco precision. This poster appears to be the sole remnant of any flirtation the advertiser Charles Philippossian had with the auto industry. However, it’s clear that the brilliance of this piece served as Loupot’s introduction to an entirely new market, as a creator of the new Art Deco aesthetic. In the following years, he’d create superb work for Swiss Grand Prix autos and motorcycles; Austin Tractors; and Voisin Autos, before defining the industrial Art Deco aesthetic at the 1925 Expo, and with classics such as “Stop-Fire.” An important work by this artist. Exceptionally rare.
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VAMPTHEDA BARA
Throwing petals at her lover´s corpse. By 1925 she was already a has-been.
Queen of Vamps Theda Bara inA Fool There Was (1915). So perverse was Bara´s role that she was simply but brutally named “The Vampire”. No cute name calling for this gal!
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Queen of Vamps Theda Bara in the film that made her a sensation “A Fool There Was” (1915)
Notice her stunnig costumes!
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Les Vampires (1915-16)
French silent crime serial film consisting of ten episodes, which vary greatly in length. Being roughly 7 hours long, it is considered one of the longest films ever made. It stars the gothic vamp MUSIDORA. Highly influential in shaping the vamp archetype and the femme fatale archtype in the following decade.
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MagnificentTheda Bara, Queen of Vamps in 1915
1910scinemais 1 year old already! reblog to celebrate!
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