A cult favorite among many cinephiles but a box office bomb, Brian DePalma’s 2002 Femme Fatale is (like most other DePalma films) a visual treat full of twisty turns, Hitchcock-homages and, according to some, utterly indulgent artsy trash. But artsy trash in a good way, if you ask me. I’ll leave it to the film scholars and critics (of which I’m neither) to render judgments on that. But Rebecca Romijn (then still going by Rebecca Romijn Stamos) was one hell of a lethally cool Continental jewel thief.
No surprise that most blogs, sites, articles and reviews of this film tend to zero in on Romijn in a saucy bit in dark undies, Romijn in a saucy bit in white undies, Romijn in a saucy bit in no undies, or most of all, the extended steamy opening scene of Romijn and actress Rie Rasmussen hooking up in a nightclub restroom (which is really a heist).
Everyone overlooks how totally cool Romijn’s Laure Ash/Lily Watts can be when she keeps her clothes on, her hands off some pretty girl or hunky guy and on an automatic instead. As for me, I say the coolest bit in the film is a quickie of the titular Femme Fatale, watching one of filmdom’s ultimate femme fatales on TV (in French): Barbara Stanwyck as Phyllis Dietrichson in Double Indemnity…I just love that.