A Quote by Salma Hayek
I think it's not a femme fatale when someone is not doing it to manipulate men or be like a black widow. She loves him. She does it out of love. She wants him so badly to stay with her.
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Elektra met Matt, and she fell in love with him. And I think he brought some good out of her at some point in her life, and maybe she wants to figure out, by coming back to him, who she really is. She comes back because she misses him, and she's alone, and the only person she's ever loved is Matt.
Sometimes a woman's love of being loved gets the better of her conscience, and though she is agonized at the thought of treating a man cruelly, she encourages him to love her while she doesn't love him at all. Then, when she sees him suffering, her remorse sets in, and she does what she can to repair the wrong.
Love is an immortal wound that cannot be closed up. A person loses something, a part of her soul, when she loves someone. And she goes about looking for that lost part of her soul, for she knows that otherwise she is incomplete and cannot be at rest. It is only when she is with the person she loves that she becomes complete again in herself; but the moment he leaves, she loses that part which he has taken with him and knows no rest till she has found him once more.
I felt like Elena from Vampire Diaries. She has two insanely hot men who are in love with her and would do anything for her. One of which, she would give almost everything to be with, and the other she continues to push away, even though she can't ever actually stay away, so she won't have to admit she was in love with him too. At least my guys weren't brothers.
Do you know what happens when an Arabian woman dances? She does not dance: she protests, she loves, she cries, she makes love, she dreams, she goes away from her reality, to her own world, where love is really meant and she does not want to come back, because that is her reality.
She was in a terrible marriage and she couldn't talk to anyone. He used to hit her, and in the beginning she told him that if it ever happened again, she would leave him. He swore that it wouldn't and she believed him. But it only got worse after that, like when his dinner was cold, or when she mentioned that she'd visited with one of the neighbors who was walking by with his dog. She just chatted with him, but that night, her husband threw her into a mirror.
She knew that she belonged to this man, body and soul. Every trace of shame departed; it was burnt out by the fire that consumed her. She gave him a thousand opportunities; she fought to turn his words to serious things. He baffled her with his shallow smile and ready tongue, that twisted all topics to triviality. By six o'clock she was morally on her knees before him; she was imploring him to stay to dinner with her. He refused.
What is this Charity, this clinking of money between strangers, and when did Charity cease to be a comforting and secret thing between one friend and another? Does Love make her voice heard through a committee, does Love employ an almoner to convey her message to her neighbor? ... The real Love knows her neighbor face to face, and laughs with him and weeps with him, and eats and drinks with him, so that at last, when his black day dawns, she may share with him, not what she can spare, but all that she has.
It is a huge amount of pressure playing someone like Valerie Plame-Wilson. First of all who she is and what she's done is wildly intimidating and impressive. It is just scary to take on that responsibility, and you want to honor her story, an incredible story that affected us all. She is often doing things that were confusing to me, like her sexual prowess. I think that she is in a lot of pain and she has been really badly wounded along the way. She doesn't hold men in the highest regard... not just men but people.
She suddenly understood why she had let him kiss her in the diner, why she had wanted him at all. She wanted to control him. He was every arrogant boyfriend that had treated her mother badly. He was every boy that told her she was too freaky, who had laughed at her, or just wanted her to shut up and make out. He was a thousand times less real than Roiben.
She rested her head against his and felt, for the first time, what she would often feel with him: a self-affection. He made her like herself. With him, she was at ease; her skin felt as though it was her right size.. It seemed so natural, to talk to him about odd things. She had never done that before. The trust, so sudden and yet so complete, and the intimacy, frightened her.. But now she could think only of all the things she yet wanted to tell him, wanted to do with him.
She really does like him, she likes lying next to him, she wants to be around him; when you get down to it, can you say that about many people?
She looked at him then, but his image blurred behind tears that swelled into her eyes. She must leave. She must leave this room, because she wanted to hit him, as she had sworn she never would do. She wanted to cause him pain for taking a place in her heart that she wouldn't have given him if she'd known the truth. "You lied to me," she said. She turned and ran from the room.
Elizabeth Taylor is pre-feminist woman. This is the source of her continuing greatness and relevance. She wields the sexual power that feminism cannot explain and has tried to destroy. Through stars like Taylor, we sense the world-disordering impact of legendary women like Delilah, Salome, and Helen of Troy. Feminism has tried to dismiss the femme fatale as a misogynist libel, a hoary clich?. But the femme fatale expresses women's ancient and eternal control of the sexual realm. The specter of the femme fatale stalks all men's relations with women.
...she merely wished to find a way out of the maze. She knew that she had become a burden to him: she took things too seriously, turning everything into a tragedy, and failed to grasp the lightness and amusing insignificance of physical love. How she wished she could learn lightness! She yearned for someone to help her out of her anachronistic shell.
She raised her eyebrows in a look that she hoped conveyed how much she was all right with him leaving her. After all, he was a prince. The most powerful men and women on Earth had summoned him. She understood. And yet he was still here, with her. "I'm fine," she said. "Go away.
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