[Originally posted two years ago – a re-up in honor of Bettie, who died in Los Angeles on Thursday]
Last night we settled in with some popcorn and the usual assortment of riding crops and corsets to watch the latest biopic to catch my eye: The Notorious Bettie Page (Picturehouse/HBO Films, 2006). The prurient among us may know of Bettie Page as the woman once named the “Pin-Up Queen Of The Universe” in the ’50s. She was a model, actress, pin-up girl, and is most often remembered from her (now a bit comical looking) bondage photo shoots. You may also think of her in that tigress outfit, or winking as she trims the Christmas tree in the nude (and who among us hasn’t would be my question).
In any case, I found it be a pretty interesting look at the bravery of her life and the depth her dreams — as well as her rationalization (if you will) for the pictures she took (“I figure God gave me a talent for taking pictures and making people happy. Shouldn’t I use that talent?“). After watching the film, I was curious to know what became of her (she became quite reclusive and mostly vanished from the public eye). Her Wikipedia page had a link to a current picture of her at 80 looking about 55 and still glowing. Not bad Bettie.
The film was written and directed by two women (Mary Harron and Guinevere Turner, who both worked together also on “The L Word” and “American Psycho”), and in the same way that Bunny Yeager‘s photographs of the real Bettie Page brought out some of her best moments, I think that having this movie envisioned through the eyes of females lent it a certain depth that I liked.
Bettie Page’s openness and vitality were conveyed well through the acting of Gretchen Mol. There were some interesting bonus features as well, which showed the making of the movie and some original footage of Page. Gretchen Mol is a blonde in real life. This made we wonder if there were merkins involved (Pearl Jam fans might have some idea what I am talking about. When I mused that question aloud last night, I was so proud of myself for ever getting to use that word in a sentence. I mean really.)
There was a nice femino-centric (new word) soundtrack to this film, with era-appropriate innocence and swing. Here are four notable tracks that I enjoyed. The smoldering Julie London track was the closer to the film and absolutely perfectly placed.
And here’s the trailer: