Get the ten bad female characters in the movies, who are also the best characters we know • Cathy Bates, Sharon Stone and more

The Wicked Witch of the West (Margaret Hamilton)

"The Wizard of Oz"

Probably the most famous witch in the history of cinema. Her green skin, her creepy laughter, her black dress, her pointed hat, the broom - all have become a kind of standard over the years. In contrast to her secondary presence in L.'s book. Frank Baum, in the classic film version from 1939 her role is much bigger and more significant, and besides trying to steal Dorothy's (Judy Garland) ruby ​​shoes, which will allow her to take over the land of Oz, she and her flying army of monkeys also seek revenge on our brave heroine (because When the hurricane subsided, Dorothy's house landed on her sister, the evil witch from the east, and crushed her to death). According to legend, a number of scenes starring Hamilton were cut from the final version of the film because the producers feared they were too scary for children. However, the really scary moment actually occurred during the filming. In the midst of a scene where the witch disappears in smoke and fire, Hamilton's outfit ignited and she suffered second and third degree burns to her hands and face. Ouch.  

Rosa Caleb (Lotte Lania)

"From Russia in love"

There are certainly quite a few nasty women from James Bond movies who deserve a place on this list (like Mae Day from "Murder to the Eyes" or Xenia Ontop from "Golden Eyes", for starters). But in the end I decided to pay homage to the ugly, tough and women-loving Russian agent Rosa Klev, who entered the Hall of Fame with the help of her iconic "spring knife shoes". Lotte Lania, the Austrian actress who played her, was best known at the time mainly for her roles in the plays of Bertolt Brecht and Kurt Weil (who was even her husband at one point). However, after starring in "From Russia, in Love," she said, whenever she met new people, they first looked toward the floor to make sure nothing suspicious or sharp suddenly popped out of the soles of her shoes.

Sister Rached (Louise Fletcher)

"The Cuckoo's Nest"

The role for which she won the 1975 Academy Award was given to Louise Fletcher only after five famous actresses from her (among them Anne Bancroft, Alan Burstein and Angela Lansbury) refused. While frantically searching for an actress to agree, director Milosh Foreman stumbled upon Fletcher, an anonymous and not-so-young actress, and thought she might be ideal for what he defined as "the hardest role" in "The Cuckoo's Nest." he was right. Fletcher's restrained and ice-cold appearance as a senior and very cruel nurse in a psychiatric hospital stunningly demonstrates the banality of evil, placing an impossible protagonist in front of our rebellious and charismatic anti-hero (Jack Nicholson in a brilliant performance). If we need proof of Sister Rached's timeliness, we can find her in the fact that popular TV producer Ryan Murphy will launch a new prequel series on Netflix next month that will try to explain how she got so bad. 

Annie Wilkes (Cathy Bates)

"Misery"

Like Louise Fletcher, Kathy Bates was already a veteran actress (and theater star) when she got the role of her breakthrough. In her case, too, it ended up with an Oscar (and a Golden Globe Award). On the one hand, Annie Wilkes - the obsessive and psychotic fan who holds her favorite author captive and forces him to write a book for her - seems the most nerdy and polite in the world. On the other hand, if we annoy her, she has a hammer, and she will not hesitate to use it (as James Kahn will soon learn about his flesh). Rob Reiner's horror thriller, based on a novel by Stephen King, was a big hit when it was released in 1990 and it launched Bates' Hollywood career impressively. Rainer, in his modesty, always bothered to point out in interviews that the person who suggested he cast her was the film's screenwriter, William Goldman. Man.

Phyllis Dietrichson (Barbara Stanwick)

"Double life insurance"

I do not know who deserves the title of the greatest femme fatale of them all, but there is no doubt that Mrs. Dietrichson, the seductive, manipulative and heartless housewife played by Barbara Stanwick in Billy Wilder's Double Life Insurance, 1944, must be one of the final contenders. Fred McMurray plays the stupid insurance agent who falls into her trap and who agrees to help her kill her husband. The stunning scene at the end of the film, in which he finally breaks free of her grip and separates from it forever by shooting a pistol bullet in the abdomen from zero range ("Goodbye, baby…"), is just one of many reasons this film noir - co-written by Wilder with Raymond Chandler ( According to a book by James M. Kane) - considered one of the best that this beloved genre has ever spawned. A true Hollywood classic.

Katherine Tremel (Sharon Stone)

"Basic instinct"

When it comes to choosing a modern femme fatale, the task seems a little simpler. Because even though I have some favorites of my own (like Linda Fiorentino in "The Last Temptation" or Kathleen Turner in "Body Brown," for example), none of them have left their mark on popular culture like the rich, bisexual and ice-cream-loving daughter played by Sharon Stone In "Basic Instinct." The sleazy erotic thriller of director Paul Verhoeven and screenwriter Joe Esterhaz was considered a scandal plus film when it was released in 1992, due to its graphic (and frequent) sex scenes. But Stone caused the biggest mess in a notorious scene in which she was almost completely dressed (emphasis on the almost). Naturally, Stone became a huge star overnight, and her character in the film positioned herself in consciousness as the female parallel to the character of Hannibal Lecter, the protagonist of "The Silence of the Lambs," which came out a year earlier. How did the lustful cop Michael Michael Douglas say? The pairing of the century. And not a word about the unnecessary sequel that came out in 2006.

The Queen (Stan Winston, James Cameron)

"The Return of the Eighth Passenger"

"The Return of the Eighth Traveler" by director James Cameron, is considered one of the few sequels that surpasses the original, and not in vain. Sigourney Weaver returns to the role of Ripley and goes deep into space with a Marine unit to eliminate an entire colony of murderous aliens. But at the end of the day, she finds herself face to face with a huge and utterly repulsive alien queen who will do anything to protect the hundreds of eggs she has laid. Unlike the first film in the successful series - which was built slowly and patiently, and which boasted an almost intimate atmosphere - this excellent sequel is replete with gunfights, chases and explosions. The feminist dimension of the series is also experiencing a step up here: the film's climax shows two warrior mothers (Ripley and the Queen) fighting to the death, with the life of a cute blonde orphan at stake. There is no doubt that the climactic scene, in which Ripley emerges from the smoke inside a robotic skeleton of a forklift, to save the cute girl ("Get away from her, you BITCH!"), Is a perfect ending to the celebration. Amusing trivia detail: Cameron insisted on dubbing the queen himself and is the one responsible for all the weird sounds she makes.  

Artemisia (Eva Green)

"300: Rise of the Empire"

I will not lie to you. "300: Rise of the Empire", the sequel / prequel to Zack Snyder's huge hit, is not a particularly good film. But Eva Green's animalistic, murderous and sex-dripping performance, as an ambitious and ruthless army minister who collects severed heads (and kisses them on the lips) as a hobby, is something out of this world. Green looks for most of her screen time like a tiger on the verge of orgasm just released from the cage. Her big eyes almost come out of their sockets, and her sadistic smiles of pleasure are one thousand percent convincing. If that's not enough, there's a completely disturbed sex scene here in which Green preys on and dismantles a poor Greek general (Sullivan Stapleton) who comes to negotiate with her. How unfortunate that Gerard Butler is the one who became the lacquer identified with these films and not she. I would let Artemisia cut off my head without thinking twice. Anyway, how come Eva Green didn't become a superstar? With all due respect to Angelina Jolie, Green does not see her from a shower.

Miranda Priestley (Meryl Streep)

"The Devil Wears Prada"

Miranda Priestley, the revered editor-in-chief of Runway fashion magazine, is the lexicon definition of "boss from hell," and as such, her manipulative and forceful figure evokes an equal measure of anxiety, awe and inspiration. Meryl Streep, who was justifiably nominated for an Oscar for her juicy and wonderful performance, told in interviews that she based the character on a number of toxic men she met during her life (rather than on Vogue editor Anna Wintour, who provided the inspiration for the character in Lauren Weissberger's book). In the film, which came out in 2006, Priestley is indeed more sympathetic and complex than in the book, and her tumultuous (and maternal?) Relationship with her new personal assistant, Andrea (Anne Hathaway), has been at the center of countless seminar papers. Because Priestley is perhaps a nasty and selfish monster. But if she was a man they would probably say it was actually a positive thing. not like this? Share so everyone can see the hypocrisy.

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Asami (Ahii Shina)

"Audition"

This horrific and shocking horror film, captured by the Japanese Takashi Mike in 1999, is really not for everyone. But if you have iron nerves and a strong enough stomach, I definitely recommend you go for it. At the center of the plot is a widowed TV producer who conducts canvas tests whose real purpose is to find a new partner for him. The one who wins the "role" at the end of the process is Asami (Aihi Shina), a skinny, introverted and angelic-looking girl who was a ballerina in the past. The producer falls in love with her to the top of her head, of course. But then it turns out that the aforementioned girl is a slightly less successful casting than it initially seemed. To say the least. Beyond the fact that "Audition" is a movie that can be discussed for hours (it was called both feminist and merging, sometimes by the same people), it is also a movie A super-influential horror that actually spawned the genre of torture porn (which includes movies like "The Saw," "Hostel," etc.), put it this way: If you manage to survive the last twenty minutes of "Audition," you can survive anything.