Emanuel Levy
Cinema 24/7
Film Theory: Characters–Villains
Hollywood Types
Villains
In film noirs of the 1940s, malevolent image of seductive femininity
In films of the 1950s, communists
The two malevolences combine in the representation of dark-haired exotic Soviet agent
1949:
I Married a Communist
The Woman on Pier 13
he Red Menace
Villains in the 1970s tended to be black Harlem drug dealers, living in crumbling tenant buildings
Villains in the 1980s were rich Latino wearing designer clothes, who believed they are above the law, based in Miami or Los Angeles, rather than NYC
They were Cubans, South Americans (often Columbians)
The drug of choice in the 197s was heroin; in the 1980s, cocaine
Scarface 1983, De Palma, drug dealer, Miami
Lethal Weapon, 1987, Richard Donner, drug smuggler
Beverly Hills Cop II, 1987, Marin Brest, loose-canon cop fighting rich drug smuggler
License to Kill, Bond 1989,
Delta Force II, Aaron Norris, US Special Forces fighting Colombian Cartel
Film Theory: Characters–Villains
Film Theory: Characters–Villains
Hollywood Types
Villains
In film noirs of the 1940s, malevolent image of seductive femininity
In films of the 1950s, communists
The two malevolences combine in the representation of dark-haired exotic Soviet agent
1949:
I Married a Communist
The Woman on Pier 13
he Red Menace
Villains in the 1970s tended to be black Harlem drug dealers, living in crumbling tenant buildings
Villains in the 1980s were rich Latino wearing designer clothes, who believed they are above the law, based in Miami or Los Angeles, rather than NYC
They were Cubans, South Americans (often Columbians)
The drug of choice in the 197s was heroin; in the 1980s, cocaine
Scarface 1983, De Palma, drug dealer, Miami
Lethal Weapon, 1987, Richard Donner, drug smuggler
Beverly Hills Cop II, 1987, Marin Brest, loose-canon cop fighting rich drug smuggler
License to Kill, Bond 1989,
Delta Force II, Aaron Norris, US Special Forces fighting Colombian Cartel