Gilda, Bound, Noir

A type of American thriller, film noir typically features the ‘hero’ figure trying to resolve a mystery laid down on him and to assert his masculinity and power over the femme fatale. The sexuality of both gender are stereotyped yet exaggerated. The quest exposes the man’s weakness, his obsession and psychological imbalance, as Dyer puts it, they are seen ‘robed of the attributes of masculinity and normality’ (Dyer 116). Femme fatale appears to be the opposite--in addition to their feminine characteristics of being seductive and vulnerable; they are intelligent enough in forestalling man for money and freedom, and in the regard, powerful than man in most part of the film. However, though technically considered a film noir, Gilda (Dir. Charles Vidor, 1946) and Bound (Dirs. Andy and Lana Wachowski) appears to deviates from the conventional sexuality configurations considering their motives and sexual orientation as constructed by the camera.

The (subtle) queer relationships in both films are the force at work in challenging the conventional portrayal. In Gilda, as Dyer argue, Jonny is very much construct as a passive, object of desire, in a similar situation as women are in the heterosexual relationship with man. Jonny is ‘picked up’ by Ballin, though such impression is at first to a large extent a creation of the camera angle (instead of the physical act), and since then Jonny appears to be inferior and reliant on Ballin, in being his right hand man and his declared loyalty in ‘protecting all that belong to Ballin’. Though one might challenge that the restriction he imposed on Gilda is merely out of his own jealousy, the hint at his relationship with Ballin is equally significant as Ballin has done more than saving his life, but instead flourish it. It is not only the suggestion of gayness that undermines Jonny masculinity, but also of his passivity in reacting to situations. If Gilda is his object of desire, he is never seen capable of controlling her—he can do nothing to stop her from dancing with other men. in the latter part of the movie, when we see him sadistically lock Gilda up, we no longer sympathies with him but her instead.

Gilda appears to be a complex character in her position in the film. Though she appears to be deviant against the patriarchy, as mentioned in Dyer, that she is singing ‘Put the blame on Mame’ as ‘a woman against the male system’ (Dyer 119), and in her dance she is seen repeatedly escaping from both Ballin’s marriage and Jonny’s control by asserting her individuality (to choose her partner), however, it is conflicting to note that she claims that she did all this out of his desire to arose Jonny’s jealousy and that her love for Ballin is pseudo (even she once said that her life starts only after meeting him). Gilda’s ultimate goals seems to be reconcile with her ex-lover, instead of for money or freedom, making her less a femme fatale even she is portrayed with equal seductive power, in her facial close-up and dress.

Similarly in Bound, neither feminine Violet, butch Corky nor Ceasar appear to totally adhere to conventional construction. Ceasar’s quest to get back the ‘lost money’ serves to portray him as a pathetic character who is blind to the setup, but it also hint at a possibility that Corky might be equally set up by Violet, and such is only resolve till the last minute. Straayer argues in his article that Ceasar refused to recognise Violet as a deadly femme fatale, and this mistakes cost him his life (Straayer, 8). Violet, as Gilda, is stereotypically feminine in her dressing and seeming vulnerability. However, she appears to be equally intelligent as all femme fatale, who succeed in setting her man up. Though repeated close-up shots highlights her nervous expression, she seems to manage the unexpected chain of event quite well, most evident in her call in name of Gino, her fearlessness in face of Ceasar’s gun and her final shooting. Her capability almost makes me doubt whether she will abandon Corky when she is threatened by Ceasar.

Corky is an exceptional character as a butch embodying both masculine and feminine character, the combination which seems to excel both individually. Corky’s appearance on screen is equally sensual as Gilda, highlighting her seductive quality, she is reliable and calm, calculating as a femme fatale would, and her masculine protectiveness prevent her from harm and betrayal. Though Corky appears to play the masculine role in her relationship with Violet, she is more a feminine character to me. The capacity to embody both sexuality is nonetheless significant highlight the possibility of variations in Film Noir.

However, as remarked by Straayer’s article, the film ends ironically with the song ‘She’s a lady’, leaving a misogynistic ‘the lady is mine’ note in this supposedly deviant film. This echoes the ultimate return of patriarchy in Gilda.