A femme fatale ( /ˌfɛm fəˈtæl/ or /ˌfɛm fəˈtɑːl/; French: [fam fatal]) is a mysterious 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 archetype of literature and art. Her ability to entrance and hypnotize her victim with a spell was in the earliest stories seen as being literally supernatural; hence, the femme fatale today is still often described as having a power akin to an enchantress, seductress, vampire, witch, or demon.
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. In some situations, she uses lying or coercion rather than charm.
She may also make use of some subduing weapon such as sleeping gas, a modern analog of magical powers in older tales. She may also be (or imply that she is) a victim, caught in a situation from which she cannot escape; The Lady from Shanghai (a 1947 film noir) is one such example. A younger version of a femme fatale would be called a fille fatale, or “deadly girl.”
Where do you intend to go with your dirty dress?
Lead my skeptic sight to the table and the light.
The cities grow
The rivers flow
Where you are, I’ll never know
But I’m still here
If you were right and I was wrong
Why are you the one who’s gone
And I’m still here
It’s gonna be alright
I will get better
It’s gonna be okay
I will remember
I held the pieces of my soul
I was shattered and I wanted you to come and make me whole
Then I saw you yesterday
But you didn’t notice
And you just walked away
Cause everything you wanted me to hide
Is everything that makes me feel alive
I am struggling
Bed scenes in the corner cafe
And then I’m left in bits recovering tectonic, tremblings
You get me every time
Cause in my head there’s a greyhound station
Where I send my thoughts to far off destinations
So they may have a chance of finding a place
where they’re far more suited than here
And I cannot guess what we’ll discover
When we turn the dirt with our palms cupped like shovels
But I know our filthy hands can wash one another’s
And not one speck will remain
We smiled so bright the sun went down
Rose above the maddening crowd
We lit the streets with the sweetest glow
We held the globe and made it turn
Wandered through the universe
The men of science observed through telescopes
1. jimmy eat world (table for glasses), 2. vertical horizon (i’m still here), 3. imogen heap (goodnight and go), 4. death cab for cutie (soul meets body), 5. a fine frenzy (lifesize)
How could you not already have felt blessed for good, having these last days spoken your whole heart to him, who spoke his whole heart to you, so that in the silence he would not feel a single word was missing? How could you not have slipped into a spell, in full daylight, as he lay next to you, with his arms around you, as they have been, it must have seemed, all your life? How could your cheek not press a moment to his cheek, which presses itself to yours from now on?
(from “How Could You Not” by Galway Kinnell) ♥
This is pretty much my favorite song in the entire universe ever. The best songs are simple and beautiful. Judith Durham’s voice! My God.
“I almost wish we were butterflies and liv’d but three summer days – three such days with you I could fill with more delight than fifty common years could ever contain.” — John Keats
“To be empty and be filled with darkness.
To be empty and be filled with light.
To be full and give birth to the impossible.
Trust me (it’s the only way).
Watch the sunflowers bloom,
spilling seeds into our hands;
a feast for the eyes and tongue.
I bloom in trust.
I trust the color yellow:
O, endless desire
I trust my desire,
(quoted from the collection of poems by Alma Luz Villanueva – “Desire”)
Emily Weiss once appeared on The Hills (season 3) as the “New York super-intern” who upstaged Whitney and Lauren. Today, she’s a fashion editor at Vogue as well as the editor and founder of IntoTheGloss.com, a unique, magazine-esque beauty blog that dishes out upscale makeup and skincare what-have-you with WASP-like elegance. I was amazed by Emily on The Hills – the way she carried herself was so poised and graceful. Then I discovered ITG and I was hooked after reading a bit of what she wrote, as well as in interviews I gleaned from other websites. She’s striking, classic and has a fresh modern style. She’s also the pretty one. The smart one. And the really fucking stylish one. Bitch. I’m tempted to hate her…but her style speaks for itself.
“When it comes to her fashion sense, Emily describes her style as ‘a hodgepodge of romantic vintage dresses and more tailored new things.” She loves a sharp jacket, can’t live without her four rings, wishes she had been young in the 1940’s – “that silhouette works really well for me.'” (interview quote via Tales of Endearment)
Image via Vogue.com – Five Days, Five Looks, One Girl – I love the matte berry lip with the subdued gray wrap and minimal makeup.
Above: Those bleached jeans – eep! – to die! Weiss is sartorial heaven here. Hers is the style that seems almost too Parisian to be real, perfectly authentic, not too loud but unquestionably chic.
Emily’s a huge deal in the fashion and beauty industry but she doesn’t really have a “buzz” like certain other females who shared screenspace on The Hills. I like that she’s refined and that you basically have to be a fashion/beauty insider to know who she is. Here’s a little more about Emily, for those who don’t.
Emily attended NYU. She interned at Teen Vogue on the east coast, and at W and Chanel.
She has a strong aversion to exercise (but you’d never know it).
If you look at photos of Emily, she’s not always plastered in makeup. Minimalist works.
Emily is always shopping for vintage dresses – particularly from the 1940s. Mix them up with an unexpected proportion, like her big platform wedges from Celine – it totally updates the look.
She loves thrifting vintage items from Yves Saint Laurent and Chanel.
Emily isn’t really into crazy colors and patterns; she instead sticks to classics like black, navy, taupe and white…although she does throw in a pop of print or a splash of red now and then.
Style secret? Emily buys all of her clothing a size larger, because nothing is more unflattering than too-tight garments. You’re better off with some drape to spare.
Her secret to glowing skin? Lots of moisturizer, even when you have oily skin (I do this! I’m not as glowy, but I’m not on Vogue’s payroll, either). And use gentle products.
Emily also mists with Caudalie Beauty Mist, which smoothes skin, tightens pores and provides an instant burst of radiance while stimulating microcirculation (yes please)!
Now I’d never dog on my girls Lauren, Whitney or Audrina, but Emily Weiss’ style is kind of like tasting fois gras after you’ve been eating Cheetos. Just doesn’t compare. ♥
For those who don’t know who Diane (pronounced Dee-an) Arbus was, here’s a quick rundown: She was an American photographer/writer noted for black-and-white photographs of deviants, circus freaks, transvestites and other marginal members of society. She tragically took her own life in 1971.
This film, however, directed by Steven Shainberg, doesn’t attempt to satisfy any curiosity about Diane Arbus’ (Nicole Kidman) short and brilliant life. It rather, leads the viewer “down the rabbit hole” to a fantasy world. Fur is artfully styled and directed, down to every last detail settling the tone for the 1958 backdrop. Costumes and sets are impeccable. One does beg the question: Where is this film going? I was hoping for more of a glimpse into Arbus’ life as a whole – but the in the film’s special features, the creators explain that the premise of the film was to create the “imaginary portrait” to give a theoretical source for Arbus’ first forays into portrait photography. Her muse is a former circus “freak” named Lionel (Robert Downey, Jr.), and is for much of the film, concealed by creepy cloth masks reminiscent of The Strangers or looking uncannily like the Beast from Beauty and the Beast. On her discovery of self, deep inside Lionel’s at once whimsical and eerie lair, she encounters a dominatrix, a handful of dwarves, a tall man and an armless woman. Such “oddities” are to be symbolic of Arbus’ later draw to the type of people traditionally left unexamined and outcast at the margins of society.
A fetishized attraction quickly glowers between the Diane and Lionel, drawing her up and away from the duties of family life – husband Allan (played by Ty Burrell) and two children. Having lived as a young and privilege housewife/assistant to her commercial photographer husband, Arbus feels the inevitable draw of her own untapped talent, which for essentially the entire film, is masquerading as misplaced lust. Adulterous love does not in itself make one an artist, but the end implies that Arbus has found her calling, and as she mourns the suicide of her beloved friend. The film ends on an unresolved note. At times bittersweet and oddly sexual, some might find it compelling to watch, but are left craving more insight into the life of a remarkable artist.
Check out RottenTomatoes for other takes on the film. It wasn’t popular with critics. That said, I think it was a well-intentioned, very watchable production which fell flat of achieving any lasting purpose.