also states that we may read the femme fatale in a way that suggests that she is “ a figure of projection for masculine anxiety ” ( Bronfen 2004 , 114 ). Yet whether we view her as choosing to be wicked or just perceived to be wicked by the patriarchal labels and structures , both ways define her “ in relation to men ” ( Place 1998 , 47 ). Therefore , it is significant that Brigid plays with these labels and , in her very performative acts , showcases the ridiculousness of women being defined purely “ in relation ” to men and refuses to be defined in such a manner . Instead , she abuses these dichotomies by corresponding to both , therefore allowing her to be defined truly as neither .
Brigid and Effie
In The Maltese Falcon , Brigid undertakes performances of both the femme fatale and the angel in the house . This is evidenced succinctly in our first introduction to her as she meets Sam Spade as “ Miss Wonderly ” ( Hammett 1974 , 5 ). Visually , she is the femme . This is best seen when Hammett write that : “ Her body was erect and high-breasted , her legs long , her hands and feet narrow . She wore two shades of blue that had been selected because of her eyes . The hair curling from under her blue hat was darkly red , her full lips more brightly red ” ( Hammett 1974 , 5 ). Evidentially , this is a sexualised description of a women therefore she is a femme . This can be seen further when compared to the description given of Effie Perine , the femme fiable . Hammett described Effie as “ a lanky girl whose tan dress of thin woollen stuff clung to her with an effect of dampness . Her eyes were brown and playful in a shiny boyish face ” ( Hammett 1974 , 5 ). The language used to portray Effie is homely and somewhat masculine – Hammett actually uses the term ‘ boyish face ’. Even something as simple as eyes are used to put them in their categories . While Effie ’ s eyes are ‘ playful ’ and ‘ brown ’, Brigid ’ s eyes are “ cobalt-blue ” and “ shy and probing ” ( Hammett 1974 , 5 ). As Keli Masten comments , “ It is apparent from her first appearance that both Spade and Archer are interested in pursuing their new client for more than just business when they joke about it after her departure […] From the first , Brigid is defined as a sex object ” ( Masten 2018 , 30 ). However , despite appearing as the femme , as the ‘ sex object ’, Brigid then chooses to present herself as a woman in need . She acts a scared woman who is desperate for a man , Sam Spade specifically , to save her from her troubles , which at this point are domestic . She is so nervous , in fact , that she can barely get out her issue :
She caught her breath and looked at him . She swallowed and said hurriedly : ‘ Could you --- ? I thought --- I – that is --- ’ Then she tortured her lower lip with glistening teeth and said nothing . Only her dark eyes spoke now , pleading ( Hammett 1974 , 6 ).