The FMC Archetypes: The Femme Fatale
A hot minute has passed since I dove into one of the eight FMC archetypes. Previously, I covered the kind, caring and charismatic Girl Next Door. Next, I will focus on a character who usually serves as her antithesis. In direct contrast to the "desirable" traits of the GND, the Femme Fatale's overt self-confidence and resolve made it easy for her to be branded a story's villain.
Let us revisit our fictional small town from the previous article. The male protagonist arrives at school eager to see if the girl he saw helping her family with moving boxes Sunday afternoon is in any of his classes. His heart skips a beat when she walks into his homeroom, a nervous but genuine smile growing on her lips when she spots the somewhat familiar face. Perturbed the leading man's attention has been stolen mid-conversation, the head cheerleader scoffs at the GNDs knee length dress and tosses her long hair over her shoulder before heading to her assigned seat. The girl doesn't consider the newcomer to be a threat. She alone is the sultry, sought-after object of everyone's affection.
Like in this story, the Femme Fatale has existed much longer than the Girl Next Door. She was a familiar figure in tales from the Middle Ages, a cautionary tale showcasing the dangers of unrestrained female sexuality. This trend continued into the Gothic age when she found a home among the infamous vampires that ruled the era feeding off the desires of the men they ensnared. By the early 20th century, western culture had deemed the Femme Fatale en vogue. While her wanton ways were not highly esteemed, they were less villainized. She became a symbol of power, wealth and desire in many paintings, poems and plays, and by the 1940s, American cinema was completely captivated by the seductress, the success of Rita Hayworth's infamous Ginda and Alfred Hitchcock's Rebecca being prime examples. As time went on, she only gained more devotees. Catwoman made her first appearance in the Batman comics in 1940 and has appeared in multiple film iterations since. The Femme Fatale is also happily represented by Catherine Tramel from Basic Instinct, Katherine Merteuil from Cruel Intentions, and Jennifer Check from Jennifer's Body. With each evolution, she gains more autonomy while retaining the traits that originally defined her.
Like the Girl Next Door, modernity has allowed the Femme Fatale to become her own woman and claim the power she has always symbolized. Her personality may contrast with her famous counterpart's, but she no longer exists as a warning or a villain. She still uses her sexuality to her advantage when needed and often remains cunning and observant of the situations at play. But that no longer makes her a "lesser" or "evil" FMC.
However, the trauma of her past does not leave her without faults. Like those that came before her, she is still used to getting her way and often has ulterior motives, even if they are not to the extreme detriment of those around her. Because of those that prey on her overt allure, she is slow to trust, and her ability to see the bigger picture sometimes lends itself to an inflated, almost narcissistic ego.
Today, The Femme Fatale wears the face of many strong fictional characters. Some that were most notable in her transformation include Rosamund Pike's Amy Dunne, The Roommate and Intimacy Experiment's Naomi Grant, Scarlett Johansson's Black Widow, and Sarah J. Maas' Bryce Quinlan. These women's top Spotify artists might be Ariana Grande, Marian Hill, Zara Larson, Britney Spears, and Billie Eilish. Artists who capture the sultry self-assurance that radiates from her every move because as she continues to grow, the Femme Fatale will now and forever remain a woman in control of her own destiny.
