Based on the true story of Valerie Solanas who was a 60s radical preaching hatred toward men in her "Scum" manifesto. She wrote a screenplay for a film that she wanted Andy Warhol to ... See full summary »
The Beat Nicks are musician Nick Nero and poet Nick Beat, a pair of self-styled truth-seekers who'd better find a gig or they'll be out on the street. Their luck begins to change when they ... See full summary »
Mark Boone Junior,
In Red Canyon, Regina and Devon return to their family home in the badlands of Utah to face the memory of a brutal attack - and put it behind them. But in coming home they awaken a killing ... See full summary »
Nobody Needs to Know is a story of Fame and the towns and industries and the people who create it and support it. It's the story of two actresses on divergent paths who unwittingly ... See full summary »
Portrait of an American innocent. In 1955, Bettie Page (1923-2008 ) waits to testify before a Senate subcommittee investigating the effects of pornographic material on American adolescents and juveniles. In flashbacks, we see her childhood in Tennessee, a brief marriage, a gang rape, and her going to New York City in 1949. There she takes acting lessons, models for photos, and acts in short films for adults, earning the nickname, "The Pin-Up Queen of the Universe." We see her relationship with merchants Irving and Paula Klaw, photographers John Willie and Bunny Yeager, boyfriends, and the public. Through it all, she is wholesome, sporting, and forthright - Eve before the fall. Written by
The real John Willie (portrayed by Jared Harris) never met Bettie Page. He did publish a photo of her in his Bizarre magazine, but it was shot by another photographer. Irving Klaw, who published many of Bettie's most famous photos, did publish some of Willie's Adv. of Sweet Gwendoline material. See more »
When Bettie first arrives in Florida and visits Bunnie's home, there is a 1959 Ford Galaxie 500 convertible in the driveway, although the scene is set as pre-1955. See more »
God gave me the talent to pose for pictures and it seems to make people happy. That can't be a bad thing, can it?
Not to me it's not, but what does God think?
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craft service - Grover Cleveland, craft service assistant - Benjamin Harrison See more »
A Brilliant and Innocent Test of the Current Legal Climate
First, let me say that Notorious is an absolutely charming film, very lovingly rendered of its time and subject(s). Gretchen Mol is utterly, painfully convincing, the very soul of the contradictions smoothly reified by Ms. Page herself. Irving and Paula Klaw are richly drawn as the working-class stiffs they were (having met Paula at Movie Star News in 1990 I can say that Lili Taylor's performance is unimpeachable), and Jared Harris as John Willie (Coutts) is an adoringly debauched genius. Anyone with an interest in the recorded history of American attitudes toward sexuality must see this movie, in a theater preferably, where votes made with dollars count more.
Second, I will allow that I am a producer of material similar to that for which the Klaws would become famous, which is no way affects my estimation of Ms. Harron's work as the splendid piece that it is, but does condition my view of Notorious as an act of political resistance of the first order. Ms. Harron has crafted a work of subtle subversion. Along with V for Vendetta, it is a movie about another time for our times.
Few readers of this site will be aware that the government they will see enacted in Notorious (through transcription of the very words uttered in closed Senate committee hearings) is a very close approximation of the one they live under right now. While Ms. Harron expressly disallows that she has a political agenda appended to this film, her faithfulness to the facts, and the respectful and unsensational way in which she renders them, synchronizes Notorious with the present day. The very acts that Notorious portrays in loving and accurate detail are defined as obscene by the Communications Decency Act, recently brought to the Supreme Court as a First Amendment case and turned back there at the behest of the Bush administration. In other words, the delicate and ineffectual bondage depicted in Notorious is indictable today by Federal prosecutors in whatever (hostile) jurisdiction they choose. Of course, there were no hearings in the Senate or elsewhere on this matter when the CDA was passed. Of course you know nothing about it, because you don't want people in Peoria telling you what you can and cannot look at (likewise, people in Peoria probably don't want me telling them what they're allowed to view). Of course Notorious will never be indicted. It's Hollywood. It's lawyered up. Countless Klaws will, however, continue to be steamrolled by a puritanical bureaucracy that has not advanced its aesthetic, moral or biological composition much in 50+ years.
In addition, Notorious posts no 18 USC 2257 compliance statement, which is mandated by the unnoticed "earmark" recently voted into law. If any media contains images of "sadomasochistic restraint" it is required to make available (ex warrant) records of age and circumstance of all performers. Notorious fails in this regard also.
In addition to being a splendid piece of entertainment and an (nearly) accurate historical document, Notorious will be the litmus against which the Bush Justice Department is itself judged with respect to the 14th (Equal Protection) Amendment and on perhaps several other Constitutional grounds. In this regard alone, a debt of gratitude is owed Mary Harron. You'll be grateful in any case, Constitutional or otherwise, if you see this film.
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