Narcissism, a term rooted in the Greek mythology of Narcissus falling in love with his own reflection, has found its place in the canon of cinematic character studies. From the obsessive lover in Fatal Attraction to the vain stepmother in Snow White , many films have explored the destructive nature of narcissists.
In this blog post, we’ll delve into how these films portray the impact of narcissism on relationships, the consequences of an uncontrolled ego, and how societal factors may enable these destructive narcissistic traits.
The Impact of Narcissism on Relationships and Family Dynamics
The Disturbing Reality of Gaslighting in “Gaslight”
Directed by George Cukor in 1944, the psychological thriller Gaslight is a pioneering film in the study of narcissistic abuse on screen.
The film is a clear example of psychological manipulation, as the male protagonist manipulates his wife in an attempt to cover up his wrongdoings, causing her to question her own sanity.
This method of psychological manipulation, where the abuser seeks to plant seeds of doubt in a person’s perception of reality, is effectively portrayed in the film through the gradual revelation of the wife’s trust in the face of her husband’s calculated schemes.
The term “psychological manipulation” developed directly from this film, cementing its place in the vernacular to describe this type of “crazy” abuse, marking the beginning of a wider societal recognition of this insidious form of psychological manipulation that remains relevant to this day.
Stepmother’s Vanity in Snow White
The quintessential Snow White tale offers a classic portrayal of narcissism through the figure of the jealous stepmother.
Her obsession with beauty and control leads her to attempted murder, demonstrating the potential for narcissism to cause catastrophic harm within a family.
Many films have taken on this story, with the following two being the most popular.
Mirror Mirror (2012), directed by Tarsem Singh, offers a comedic and imaginative portrayal of Snow White (played by Lily Collins) and the envious Queen Clementiana (Julia Roberts). Despite mixed reviews, the film managed to gross $183,018,522 worldwide.
Related : Victimization through Blame: The Narcissist’s Hidden Weapon
Snow White and the Huntsman (2012) takes a darker path, highlighting Snow White’s struggle against the evil Queen Ravenna (Charlize Theron).
The film was a commercial success, grossing $401.3 million worldwide, despite mixed reviews.
Snow White (2012) and Blancannevs (2012) also offered new perspectives on the Snow White legend, though both films received negative and mixed reviews.
Each film offers a unique portrayal of Snow White and her narcissistic stepmother, focusing on the theme of maternal jealousy and the perception of daughters as rivals.
This narrative selection showcases a range of characters, from the bizarre to the sinister, and reinforces the enduring relevance of this timeless fairy tale.
Dangerous Obsession in Fatal Attraction
Directed by Adrian Lyne in 1987, Fatal Attraction became a cultural phenomenon and a topic of discussion for its depiction of a disturbing romantic relationship.
The film examines the horrific consequences when a narcissistic obsession, from someone who initially seems so charming, crosses the line into possessiveness and violence.
The film stars Michael Douglas as Dan Gallagher, a family man caught in the trap of his own betrayal, and Glenn Close as Alex Forrest, whose performance brilliantly captures the terrifying escalation of a rejected lover’s rage.
Anne Archer, who plays Dan’s unsuspecting wife Beth, adds further tension as the stakes become dangerously personal.
The excellent casting and Lyne’s tense direction earned the film critical acclaim and box office success, cementing its place in cinematic history.
Glenn Close’s character, Alex Forrest, embodies the deep sense of entitlement that characterizes narcissistic individuals who refuse to accept rejection or deny their desires.
As the film progresses, Alex becomes increasingly aggressive and dangerous. Her terrifying progression toward violence is a cinematic illustration of “narcissistic rage”: an intense and often destructive response that feeds the narcissist’s wounded ego when faced with opposition or loss of control.
Mommie Dearest The Maternal Monster
A 1981 biographical drama, “Mommie Dearest” paints a terrifying picture of narcissism under the guise of motherhood.
Based on the memoir of the same name by Christina Crawford, the film reveals the turbulent and abusive relationship between actress Joan Crawford and her adopted daughter.
Joan Crawford, played by Faye Dunaway, is the epitome of the narcissistic parent, whose obsession with perfection and control often manifests itself in emotionally and physically abusive behavior.
Related : Self-Preservation Strategies: Navigating Relationships with Narcissists
The film’s most famous scene, in which Crawford scolds her daughter for using wire hangers, has become a symbol of the extreme measures a narcissist will go to ensure dominance and attention. Not only does “Mommy Dearest” provide a dramatic portrayal of narcissistic abuse within a family, it also invites a broader dialogue about the often hidden dynamics of family dysfunction.
Black Swan’s Duality
Darren Aronofsky’s 2010 psychological horror Black Swan offers a poignant portrayal of the pursuit of artistic perfection and the devastation it can wreak on the soul.
The protagonist, Nina, played with exquisite fragility by Natalie Portman, displays symptoms of narcissism that are deeply intertwined with her pursuit of perfect performance.
In her dual role as both a white and a black swan in the New York City Ballet’s production of Swan Lake, Nina embodies a duality that represents not only the purity and innocence of the white swan but also the sensuality and aggression of the black swan.
The pressure to embody both flawlessly leads her into a downward spiral of self-obsession, hallucinations, and competitive madness that strains her personal and professional relationships.
The film delves into the psyche of a character whose narcissism, fueled by the high stakes of artistic endeavor and an oppressive mother figure, unfolds in a harrowing tale of psychological disintegration.
The Studied Charisma of “Gone Girl”
Directed by David Fincher and released in 2014, “Gone Girl” offers a gripping exploration of the mind of Amy Elliot Dunne, a character whose complex manipulation and self-imagining display strong elements of narcissism.
The real Amy is influenced by decades of living as “Amazing Amy,” the fictional counterpart to her parents, and creates an equally structured life and reality.
The film dissects her complex psychological state, gaining momentum as her plans for revenge against her husband unfold.
Amy’s calculated use of charm and intelligence to control and deceive reflects a clinical narcissism that is both frightening and fascinating.
This narrative weaves together intense media scrutiny and the power of public perception, creating a modern tale where narcissism is amplified and distorted within the echo chamber of a voyeuristic society, thus providing a disturbing commentary on the extremes of self-image development.
Narcissists’ Downfall in These Films
These films portray narcissists as the architects of their own downfall. Their relentless pursuit of self-interest ultimately leads to isolation and the collapse of the world they have tried to control.
The narcissists’ obsessions in these films are meticulously detailed, leading us through a narrative journey of tension, conflict, and catharsis as they face the inevitable consequences of their actions.
The portrayal of narcissists in these films not only provides compelling drama, but also allows for profound character studies.
This invites us to examine deeper societal messages about the individual versus the group, the cost of unchecked ambition, and the fine line between confidence and harmful self-obsession.
Through the journeys of these characters, these films offer cautionary tales and discussions about the nature of the relationship between narcissism, self-love, and ego.
