The Notorious Bettie Page Review
Posted by Chad Webb on 04.27.2006
The notoriously average film
Bettie Page: Gretchen Mol
Paula Klaw: Lili Taylor
Irving Klaw: Chris Bauer
Marvin: Jonathan M. Woodward
Estes Kefauver: David Strathairn
Maxie: Cara Seymour
June: Tara Subkoff
Jerry Tibbs: Kevin Carroll
Young Bettie Page: Molly Moore
Directed By: Mary Harron
Release Date: April 14, 2006
Running Time: 91 minutes
Rated R for nudity, sexual content and some language.
It is said that Bettie Page was photographed more than Marilyn Monroe and Cindy Crawford combined. She is a timelessly beautiful sex icon, who has been in the fantasies of men for decades. Her abrupt disappearance from the public eye raised many questions, but in a bizarre way it aided in solidifying her place in history. Marilyn Monroe tragically died in the prime of her career, and she is still regarded as a legend. Bettie Page left her mark on the world as if she had died, by vanishing from the spotlight and refusing all offers for further photographs. In The Notorious Bettie Page, Mary Harron has crafted a biopic of her unusual life that is riveting in so many ways, but stained with unfortunate flaws.
This film covers a period in Bettie Page's (Gretchen Mol) life starting from the mid 1930's to the mid 1950's. As a child she was abused, and as a teenager she was gang raped. She was one grade away from being top in her graduating class, but she had to settle for salutatorian. Bettie was always looking for work as an actress, but her calling was in modeling. Viewers see every part of her modeling career. While posing here and there for various camera clubs, she started posing in bondage and sado-masochistic themes for photographer Irving Klaw (Chris Bauer). Klaw ran his mail order photograph business with his sister Paula (Lili Taylor), and was later the target of Senate hearings in 1955. Bettie also frequented Miami, Florida to be shot by photographer Bunny Yeager (Sarah Paulson) in her more celebrated images. Through all of her magazine covers, photos, and films, she endured some painful relationships with men. However, Bettie continued to dazzle men and women alike with her magnificent figure until she retired.
If the Oscar nominees were announced tomorrow, or even in a month, Gretchen Mol would be a sure thing for Best Actress. She is a tantalizing, rapturous, and irrefutably sexy firecracker as Bettie Page. From the tips of her toes to the top of her gorgeous black hair, she epitomizes Bettie Page in every way, shape, and form. Mol does not just move around posing as Page in various photographs, but exposes her delightful sense of humor, her unmistakable smile, and her naivety. Whether it be posing with two cheetahs, or being tied up, Page remained extremely religious her whole life, always wondering what God would think of her sins. What is increasingly odd is how comfortable Page was in doing any type of pose. She smiles and works with the photographer like a dream come true in the nude, leather, or a simple bikini. One of the more memorable lines is spoken by Bunny Yeager, who says "When she's nude, she doesn't seem naked."
Senator Estes Kefauver is satisfactorily played by David Strathairn, who is fresh of his brilliant performance as Edward R. Murrow in Good Night, and Good Luck. He sits up in his chair with authority and confidence. An unexpected treat is Chris Bauer (who had a stirring minor role in 8MM) as the small time photographer Irving Klaw. The bondage photos taken of Bettie were primarily from Klaw, who was just doing his job. He and his sister Paula are normal people, and thankfully not exaggerated. Strange as it may seem, there are people who get their kicks from bondage, and Klaw was just one person who capitalized on the demand.
What was most refreshing about this biopic was the lack of drugs, booze, and overindulgence. Bettie Page never went overboard with her lifestyle, and it is easy to assume otherwise by glancing at the poster for the film. Bettie was never the type of person to engage in immoral sexual activities. As a matter of fact, she refused all offers to appear in movies with explicit sexual content. She even declined to meet with Howard Hughes when he sent her a letter. She just laughs with those taking pictures of her, and moves her body like a goddess.
Mary Harron directed The Notorious Bettie Page without shying away from gloomy topics. The director of American Psycho and I Shot Andy Warhol has a fabulous tone She has an unbelievably genuine feel for the 40's and 50's by inserting stock footage with the actual segments she shot. The film is almost entirely in beautiful black and white, but occasionally has dabs of Technicolor as Bettie visits Florida. With the thrilling soundtrack by Mark Suozzo, Harron's cautious picture has distinctive aura of noir. As much as I loved the alternating color schemes, it is impossible to determine Harron's method and means of changing from black and white to color unless one does the research. Wisely, Harron does not graphically show the upsetting scenes of rape and abuse. It's obvious what is transpiring. On a side note, many amusing moments displayed the photographers' intelligence to cover up any pubic hair that was shown.
Those who are unaware of the height of Bettie's popularity might not fully grasp why her story is so remarkable, important, and attractive. After The Notorious Bettie Page had concluded, my friend who saw the film with me questioned as to what made her so special. Although I thought Bettie's story was very well done, I cannot ignore those comments. Whereas Harron no doubt double checked her take on Page, and shaped all the essential corrections, her ultimate mishap is the running time, which is unfortunately short. Certain characters are left enigmatic to the audience. What reduces the blatancy of the faults is Gretchen Mol, who should take a spot beside Joaquin Phoenix as Johnny Cash and Philip Seymour Hoffman as Truman Capote.
The Notorious Bettie Page presents a window into the ideals of this time period, and balances nicely on whether or not these types of pictures and films are suitable for certain age groups. As outrageous as it sounds, many had the opinion that pornographic material such as this led to murder and suicide, and one moving sequence shows a father expressing his disgust for bondage photos after the death of his son. This film is solicitous, alluring, and right on the verge of spectacular, but it ends without enough oomph and drive to be on par with recent biopics like Ray and Capote. However, Mary Harron's direction is a smart change of pace. Today, Bettie Page is in her early 80's, and while she still makes appearances, she is still quite elusive. Mary Harron said in an interview that when deciding on a new film she knew she "was very interested in the sexuality of the 50's." Bettie Page was the sexuality of the 50's, and her significance remains solid with this acceptable offering.
The 411: Supposedly Bettie Page’s measurements were 36-24-36. Ahhh, the perfect woman. Anyway, this film has its faults, but is a dandy biopic nonetheless with an outstanding lead performance by Gretchen Mol. This has not reached many towns yet, and it probably won’t, but it is well worth seeing, especially if you know nothing of Bettie Page.
