Or Kathleen Turner in BODY HEAT?

More broadly, one might say that the disappearance of the Production
Code gave the characters license to say and do things to express their
use of sexuality that had to be implied or veiled in the earlier films
(eg. the open references to oral sex in BODY HEAT and the kitchen table
scene in the Raphelson POSTMAN ALWAYS RINGS TWICE).  But the freedom to
acknowledge and act on female sexual desire can make their actions more
complex than greed alone can account for.  The very end of BODY HEAT
seems to hint at this, the remake of THE POSTMAN ALWAYS RINGS TWICE
acts on it more openly.

Another major difference that I've noted in other posts is that
neo-noir lacks the counter-fatale "good girl" who serves as a contrast
to the seductress in so many of the 1940s noirs.  Undoubtedly, that
type helped the Breen Office to breathe somewhat easier when watching
these films, but her disappearance, I think, is a mark of a social
shift that goes beyond the Code itself.

Don Larsson

On Mon, 15 Nov 1999 11:55:40 -0500 Ed Owens <[log in to unmask]> wrote:

> ...or the Linda Fiorentino of The Last Seduction?
>
> Ed Owens
>
> paul wiener wrote:
>
> > Oh yes? And what about Sharon in "Casino?"
> >
> > At 11:11 AM 11/15/99 +0000, plath3 wrote:
> > >In response to Louis Rayner's question concerning the differences between
> > >90's femme fatales and those of the early noir period. let me suggest the
> > >following differences:
> > >
> > >1. Early femme fatales were concerned with traditional greed. Bridget
> > >O'Shaunessy of the MALTESE FALCON (1941) and the Lana Turner character in
> > >THE POSTMAN ALWAYS RINGS TWICE (1946) are examples. The Sharon Stone
> > >character in BASIC INSTINCT is more concerned with mind games than with
> > >money.
>
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----------------------
Donald Larsson
Minnesota State U, Mankato
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