Femme fatales were a staple in film noir movies of the 1940s and 1950s, but today you can still find many modern examples of wanton women who seduce their way into getting what they want. Just think of Amy Adams in “American Hustle” and Rosamund Pike in “Gone Girl.”
It’s been coming up a lot in filmmaking class — what is the importance of tone, how do I get it, how do I keep it, what happens when it goes awry?
CHLOE, in theatres now, is an erotic thriller from brilliant filmmaker Atom Egoyan. (My husband almost wrote his dissertation on Egoyan – so I’ve seen all of his work – and he’s fabulous.) The screenwriter Erin Cressida Wilson (SECRETARY, FUR) is someone I know and respect whole-heartedly. She’s a wonderful writer. So why didn’t I walk out of CHLOE glowing? These are some of my favorite artists. Julianne Moore? C’mon, awesome. Liam Nisson? Check. But I didn’t glow. And I’m mad about it and I want to know more about why I didn’t. Glow, that is.