Representation of Sexuality in The Widow's Web By David Marriott
Ever since the earliest days of classic noir, the representation of sexuality has been of intrinsic importance to the genre. In fact, as part of the traditional narrative arc of the genre, the femme fatale character often used her sexuality to manipulate the male 'fall guy' into committing some sort of crime.
An example of this can be found above with the character of Cora Smith; who uses her sexuality to exploit Frank into killing her husband Nick. As discussed in previous posts this was limited on screen due to the existence of the Hays Production Code and also the less liberal society that we live in today- where sex is less of a taboo than it used to be.
Within our own trailer, Mark and Rosette are portrayed as in a conventional Hollywood heterosexual relationship. Whilst the nature of their relationship would be explored further in the full film, it is normal for a production company to exhibit the sexuality of their characters within the trailer to help the audience construct their own understanding of the film. Whilst the idea of homosexuality has become more prevalent and accepted within the wider media in 2017, it is an idea that has not quite penetrated noir's repertoire of elements just yet. Therefore, if we were to represent a peripheral character in such a way, it would subvert the stereotypical elements of noir.
It can also be argued that within Neo-Noir, the idea of sexuality is pivotal to the downfall of the 'fall guy'. Arguably, Jake Gittes emotional connection to Mrs Mulwray ultimately makes the end of the film more tragic for him as he learns that she was in fact a damsel in distress and not a femme fatale. A similar fate is given to Mark in our film, when he learns that Rosette didn't love him after all and was only in a relationship with him for her own protection. This shows that within noir, men's sexual naivety can be linked to their own downfall.
This supports an argument put forward by critic Ruby Rich, who argued that men's dumbness in noir is the only method of authenticity within the genre. Their sex riddled brain is manipulated by the wolves in sheep's clothing (femme fatale) who is supported by a female audience because they are a strong representation of women. Thus, this means that Rosette is arguably an empowering character for women and that Mark is given morals to which she is denied.
Finally, it is important to consider the lack of sexuality that is given to the peripheral characters in our trailer. This is left for the audience to draw their own conclusions, however, this 'asexuality' attributed to them potentially demonstrates that sexuality is not the definitive characteristic in noir and that it is possible to function outside of that realm. Therefore showing that whilst sexuality is an important and frequently represented part of humanity in noir; it is not exclusive to all characters within the genre. However, when it is openly portrayed, it is often to the detriment of the male character and the gain of the female.
THE END
Credits:
Created with images by Film Star Vintage - "John Garfield and Lana Turner" • Raoul Luoar - "Z283"