Since the beginning of the era, women's roles have taken a front-row seat in the modern 20th century to the present day, which has been evolving ever since. Raymond Chandler's works have proven this time and time again as he focuses on the attitudes, clothing, and themes behind the women of the 1930s and encapsulates their motivations in his characters. The supposedly unnatural role reversal found in Raymond Chandler's 'Red Wind' ultimately alludes to the feminist movement that took place during the 1930s era, as well as the concept of the femme fatale and dozens of devastating blows dealt to men's masculinity. 1930s. Although Chandler loved to incorporate the power of sexual attraction and the assertion of masculinity over women, the dilemmas of the time seemed to dirty these gender norms and bring to light a new topic; the dominant woman of the 1930s. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay In Chandler's "Red Wind," the tension between Marlowe and Lola is evident in all aspects of the story, making it a classic example of a femme fatale detective piece. Near the beginning of the story, Lola is caught by Marlowe when he recognizes her bolero and straw hat (Chandler 5). Marlowe's convincing declaration to Lola that the police were looking for her and his effective maneuvers to lure her to his apartment strategically show how elusive he is of a woman's grasp. Marlowe is also a stereotypical supplement to the way a man's charming good looks and desirable chatter seem to have a devastating effect on women. It is at this point that Lola sees Marlowe's chess arrangement, which ultimately serves as the plot of the detective piece. The chessboard serves as Marlowe's setting and he feels as if he is the knight, aiming to take steps forward and avoid taking steps backwards. The femme fatale is further amplified when Marlowe fails to take advantage of Lola in the car after their engagement in a passionate kiss. His legendary quote, “Now go home” (Chandler 17), tells of his constant striving to fulfill some kind of knightly honor. Not only did Marlowe not take advantage of Lola once again when she mentioned her separation from her husband, but he hid the fact that the pearls given to her by her past husband were only high-quality fakes. His final move, throwing the real pearls into the Pacific Ocean, resolves the fact that his gallant, gentlemanly drive for dignity leads him to denounce it in the name of chivalric honor (William Marling). It's a complete contrast to the fairytale ending, as well as the "boy gets girl" mentality. The chessboard has been set and Marlowe must perform his knightly action. Marlowe's incessant need to constantly reevaluate his title as "knight" contrasts darkly, for example, with the fact that Lola takes on the man's role and draws her gun. This, in short, symbolizes the degradation of masculinity and the man-saver-woman stereotype. with the action of the knight on the board making a couple of moves forward and then a move backwards. Although there are multiple points in the story where it is shown that a woman is seemingly under the word and power of the man, Lola's inability to exclusively remove the safety lock since she left when she turned on Marlowe in his apartment is significant for what women had yet done. arrive in the 1930s. The fact that Marlowe tells her and she doesn't even realize that his security is on just exemplifies how women were not typically used to being thrown into a man's position, in.