A Femme Fatale to All; How Kathie Manipulates Characters and Audience Alike - Emma Bailey

A Femme Fatale to All; How Kathie Manipulates Characters and Audience Alike

Watching a movie for the techniques is similar to reading between the lines. Often, the discussion between characters is viewed at a superficial level and we, as viewers, fail to discover what is implicit in the actions, lighting, and shots. Out Of The Past is one of the more traditional noir films. With a heavy focus on cigarettes, fedoras, shadows, and other expected noir themes, it is no wonder that the femme fatale plays a crucial role. The movie stars Jeff Bailey, a private detective turned gas-station owner, and follows him as he narrates his past and navigates the present. Jeff is tasked with finding Kathie, a gorgeous, cunning, femme fatale who attempted to murder her former partner Whit. After Jeff finally locates Kathie in Acapulco, they form a relationship built primarily on sexual tension and manipulation on both sides. In one key scene, Kathie and Jeff stroll along the beach. First watching the scene, I only paid attention to the dialogue which shows that Jeff has the upper-hand and complete control over Kathie. Upon close reading, the scene it is easy to see the techniques used provide a different story – one of Kathie, as the femme fatale, having control over Jeff. Without looking closely at the scene as part of the whole movie, the scene can be easily misinterpreted and misunderstood by creating the false conclusion that Kathie is powerless.

                As the wind blows her hair, the light softly shines on her skin; Kathie is shot as the dominant of the scene. The focus on Kathie occurs in different shots: long, medium, and finally over-the-shoulder and close-up. As the scene begins, we watch Kathie and Jeff walk across the beach, but as the script begins to corner Kathie into accepting responsibility for attempting to murder Whit, the frame around her begins to tighten and a lower density is seen on screen.

This is done purposefully so that the viewer can see Kathie becoming restricted, yet she still remains the main focal points on screen. The viewer’s eye is drawn to Kathie because the camera closes in, creating a tighter frame. Watching this scene once, one might think that this reduction of movement makes Kathie more susceptible to Jeff’s manipulation. However, I would argue that by reducing Kathie’s movement and the density of the shot, she is made to be the dominant and is forced into the role of femme fatale.

Much like the femme fatale personality dominates a male protagonist using her sex appeal, Kathie dominates the visuals of the scene through her beauty. This is seen through the soft and lightly lit lenses used to shoot Kathie. At first, it appeared to me that Kathie was shot in the light because she was exposed and vulnerable. However, knowing that Kathie goes on to demand an authoritative role, I would argue that light does not make her vulnerable, but rather draws the viewer’s eye. Just as she comes to demand the power later in the film, Kathie demands the control of the scene by being the most visible. Her presence as the dominant in the scene forces her to be seen with power. Jeff, who is the subsidiary contrast of the scene, is second to Kathie’s presence which foreshadows the later scene in which Kathie tells Jeff that he must obey her; she states, “I’m running the show now,”  which makes her dominant over Jeff.

Despite Jeff being able to turn her in at any moment, Kathie is shot from a low-angle for over half of the scene – which gives her an authoritative look. This imposing appearance develops an understanding that Kathie still has control regardless of her apparent vulnerability while talking to Jeff.

Earlier in this scene Kathie calmly questions Jeff, “When are you taking me back?” At this point, she and Jeff are both shot at eye level, and both characters are similarly lit in the foreground.

This quickly changes shortly after Jeff explains, “Whit didn’t die.” The camera cuts and picks up shooting Kathie at the low-angle.

The decision to shoot Kathie in a forceful role affords insight into her manipulation tactics. The discourse suggests that Kathie is defenseless and only shot Whit to escape his wrath; Kathie states in a trembling voice “I didn’t know what I was doing. I didn’t know anything except how much I hated him.” Someone viewing this for the first time is likely to take Kathie at her word; her words are scared and she sounds intimidated. Conversely, the visuals of Kathie suggest that she has power. Combining her power with words that make her seem powerless is a manipulation tactic that works on Jeff and the viewer alike. This scene requires close viewing so that the audience is not operated by Kathie the same way Jeff is.

Kathie is explicitly revealed towards the end of the film as a femme fatale, yet she is a danger the whole time. Interestingly, Kathie is a danger to both the person watching the film and her fellow characters. The language and tone used by Kathie suggest a starkly different person than what the techniques used to shoot her convey. At the end of the scene, Kathie begs of Jeff, “Won’t you believe me?” and Jeff quickly and seductively responds, “Baby, I don’t care.” In class we said that this was because Jeff was only after sex, but I contend that Kathie is manipulating him. She knows that her beauty and vulnerability will be a means of attracting Jeff and she uses this to her advantage. Despite what we all viewed the first time around, Jeff was not at all in command of Kathie. Imbedded on the screen is the true story; Kathie is in charge the whole time. She is dominant, which keeps your attention, lit beautifully, which creates the sexual attraction, and she is shot from a low-angle, which implies control. While it is not until later that Kathie’s femme fatale qualities enter the dialogue and are easily understood, closely watching her actions makes this apparent early on.