The fatal myth of man in the film was less frequent than that of the femme fatale, because the patriarchal society excluded from the image of male traits ambiguity and melancholy.
1936 was, perhaps, the year of birth of man in fatal film The Petrified Forest based on a play by Robert Sherwood. They crossed at an inn in the desert two men fatal: Leslie Howard, writer and pessimistic wandering defined himself: "I belong to a dying breed: I am an intellectual," and Humphrey Bogart, his antithesis, the role of Duke Mantee, the sentimental bandit reflected: "I spent half my life in prison, spend the rest died. " American theater of the thirties was noted for caustic dialogue, a habit inherited from Hollywood. The film meant at the same time the creation of the mythical character of Bogart.
While Bogart, born the fatal man in the French film with Jean Gabin in Pepe Le Moko (1937). It is difficult to decide which was the true creator of man fatal if Bogart and Jean Gabin, were two quite different types of fatal men, conditioned by their cultures and their own biographies.
Unlike the case of the fatal man in Hollywood movies, character, largely derived from the American realist novel of the thirties, especially from so-called "thoug writers" or "hard boiled." The differences with the similar character of French poetic realism are obvious, as it comes to crime or suicide for the love of a woman in the film American black social problems prevail over the passions, the struggles were for money and power, there was plenty of misogyny and women played a secondary role, except when they themselves were killer. The lives of men fatal realism was a French black-fled inextricable enigma did not know why or where-and the environments in which they moved were vague and often exotic. In contrast, the marginal Americans were mixed in a society very well defined: the city of New York or Los Angeles. Occupations were typical of capitalist society: they were either gangsters - "the dirty side of the struggle for the dollar," said Philip Marlowe or composing a new character of literary origin, the private detective, so real that the very Dashiell Hammett was one of them in his youth
Sam Spade's character in The Maltese Falcon (Dashiell Hammett, 1929) into a movie by John Huston, was used for the consecration of its director and Bogart, and marked the beginning of the genre of black films, for, until then, the Class B Warner.
The other was a private detective Marlowe on the verge of the abyss (Howard Hawks, 1946) on Raymond Chandler novel. Both characters, Spade and Marlowe, were disenchanted with their own lives and society around them. They were also skeptical of the law and only believed in their own freedom. The ambiguity of morality and values \u200b\u200bof these characters fascinated the French existentialist named gender as "Thriller" when they appeared in the postwar period in the library led by Marcel Duhamel Gallimard. In addition to these works had some criticism of the social and political reality-Hammet had been a Marxist-lacking the French poetic realism reduced to the realm of individual and fatality.
A paragraph in the best novel Chand-ler, The Long Goodbye, where Marlowe speaks of himself, it is useful to describe the character of man's fatal black American cinema: "I am a lone wolf. I'm not married, I am entering middle age and am not rich (...) My parents are dead, I have no brothers and if someone let me get shot in a dark alley, no one will feel he has lost the meaning and foundation of your life. "
Bogart, with his phlegmatic style, dress sloppy, the driver with the collar turned up, walking listless, half-shaved face and furrowed by wrinkles, laconic gesture with a touch dismissive contributing to the scar of the upper lip cigarette in the corner, gave fleshiness and image to the fictional character. This was Chandler himself admitted: "Bogart is certainly far superior to all the hard film (...) is hard even without a gun. Also has a sense of humor with that implied rough contempt. " In Casablanca (Michael Curtiz, 1943), Bogart added new facets to the character. Its gunmen and private detectives had been apolitical. In contrast, the cynical and skeptical Rick Blaine, owner of North African cabaret all stateless refugee of the war, had fought for the Republicans in the English Civil War, and finally lost the woman he loves to save the life of a militant anti-fascist .
This part of Bogart and company has been stumped by Juan Jose Sebreli
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. Many times they have been called Don Juanes Casanovas, libertines but Less has been said of them
Don Juan is an archetypal character, set in English literature and European literature with a long descent, created by Tirso de Molina. The Trickster of Seville and the stone guest, 1630, this work would be a consolidation of other, known as Long Tan Fiais me, which could be attributed to Andrés de Claramonte. TB
called trickster or libertine, a seducer is brave and bold to recklessness that respects no human or divine law, in some versions repents at the end of his days, in others not. The character could have historical roots and connect with Miguel de Manara, a great sinner repented. [1]
In any case, some background in the theater of the type of swaggering, seductive and in the romances, who despises the dead and accept the invitation of one of them. The character and his attitude to life, Don Juanism generally known, has inspired many essayists (Ramón Pérez de Ayala, Victor Said Armesto, Arturo Farinelli, Ramiro de Maeztu, Américo Castro, José Ortega y Gasset, etc.) that are in the shape of seducer from a pathological immature and effeminate, close to narcissism and homosexuality, as Gregorio Marañón, a satanic figure typically rebellious romantic or universal archetype of the seductive dissatisfied
Libertine The Adventurers are frequent characters in the novels. Often a rake is a man who squandered his fortune, usually inherited, in wine, women and fun, incurring debts of her bounty. It
differentiate as a literary character of Don Juan (English, cad), which is rather a man who seduces a young girl and leaves her pregnant before leaving, often causing social or financial ruin. Libertine calling a character is emphasizing his promiscuity and monetary profligacy, if called womanizer simply means that it is a seductive cruel and coldly indifferent to break the hearts of his victims.
During the Restoration period English (1660-1688), was used as the term libertine glamorous or attractive: the Restoration rake is a carefree aristocrat and witty, sexually irresistible character, typified by the courtiers of Charles II, as John Wilmot, second Earl of Rochester, Charles Sackville, sixth Earl of Dorset, who combined a wild lifestyle with intellectual aspirations and patronage of the arts.
The libertine is usually represented as a heavy drinker or gambler. An ancient form of the word, in English, was rake-hell, formed by popular etymology to mean one that fans the fires of hell, making them hot. The actual etymology of the word in English reikall is Old Norse, meaning "wanderer," which was adapted into Middle English as rakel. In English, comes from the Latin Libertinus libertine.
Libertines and well-known fictional Don Juans are
The Prodigal Son, one of the parables of Jesus of Nazareth.
Don Juan, a character in several books: Don Juan Tenorio, who starred in The Trickster of Seville and the stone guest (1630), Tirso de Molina, Don Juan (Molière, 1665), Don Giovanni, Mozart opera with a libretto by Lorenzo da Ponte, 1787, Don Juan, Lord Byron, 1819-1824, incomplete at his death, The Student from Salamanca, José de Espronceda, 1840, Don Juan Tenorio, Jose Zorrilla, 1844.
Dorimant, the hero of Man in the fashion of George Etherege, based on the historical Earl of Rochester.
Tom Rakewell, star of the series of paintings and engravings of William Hogarth's rake's progress.
Samuel Richardson, creator of the libertine Lovelace's novel Clarissa Harlowe
Choderlos de Laclos, famous for its rakish Vicomte de Valmont in his epistolary novel Dangerous Liaisons, 1782),
Compeyson, the man who scoffed at Miss Havisham in Great Expectations Charles Dickens
Alec d'Urbervilles, the seduction of Tess in Tess of the D'Urbervilles by Thomas Hardy
Rodolphe Boulanger, the main mistress Madame Bovary. Harry Paget Flashman
, main character in a series of novels by George MacDonald Fraser
Currently one of the prototypical characters of romance novels is called the fake rake (rake false), a man who everyone assumes that is profligate, but it is not.
Historical figures who have influenced the creation of the characters were, among others:
Cagliostro
Lord Byron Charles Mohun
Giacomo Casanova, the fourth Baron Mohun
Charles Sackville, sixth Earl of Dorset
John Wilmot, second Earl of Rochester Charles Sedley
John Wilkes
Colonel Francis Charteris
Hellfire Club Marquis de Sade
Francis Dashwood, 15. º Baron Despencer him.
Some men
substitutes currently fatal
Duke series Sin Tetas no paradise
peter doherty best known for his excesses than his music
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