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 »
This is a compilation of several 1950s burlesque acts, so there's no real plot to summarize. There are some strippers, some stand-up comics of the take-my-wife-please variety and cult ... 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,
Preston Tylk is an ordinary guy living in Seattle. When he discovers that his wife, Emily, whom he adores, is having an affair, he is devastated. Storming out of the house, he returns later only to find her brutally murdered.
Floating is the story of a young man's struggle to come of age during a violent period of emotional and financial bankruptcy. The film stars Norman Reedus as Van, a son shouldering the ... 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 dialog in the courtroom scenes were taken from transcripts of the real event. In addition, some of the lines Chris Bauer says, in particular the ones spoken to Lili Taylor in the courthouse waiting room, are taken directly from letters and statements in the real life of Irving Klaw. 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 »
I'm not ashamed. Adam and Eve were naked in the Garden of Eden, weren't they? When they sinned, they put on clothes.
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craft service - Grover Cleveland, craft service assistant - Benjamin Harrison See more »
If this film strikes you (as it did us and, apparently, others departing the theater) as disappointingly thin, it may be because the subject herself is mildly disappointing. The film faithfully presents us Bettie Page as she probably was: a playful almost-innocent from the rural South whose career as "the pinup queen of the universe" was for her just goofy, natural fun. Her eventual moral qualms, religious conversion and sudden departure from nude and bondage modeling are biographically accurate, yet hard to understand given how untroubled she seemed by her livelihood.
There are many reasons to see this film even so, not least of which are the amazing b&w noir cinematography of W. Mott Hopfel III (complete with old fashioned wipes and dissolves), the 1950's-faithful acting of the cast under the direction of Mary Harron, pitch-perfect performances by some of our most underrated supporting actors (including Chris Bauer, Lili Taylor, Sarah Paulson, Austin Pendleton, Dallas Roberts and Victor Slezak), not to mention the Oscar-worthy and technically difficult lead performance of Gretchen Mol.
Ms. Mol does several scenes fully naked and most others in amazing period lingerie and "specialty" costumes (gloriously assembled by costume designer John A. Dunn), yet she astonishingly maintains Bettie Page's unstudied pleasure in her lush body. To watch Ms. Mol as Ms. Page, an aspiring actress, progressing through degrees of progressively less "bad" auditions and student acting scenes is to see a truly fine actress in complete control of her craft.
The script does effectively bring us into 1950's America, where childhood sexual abuse, lawless abduction and rape, and the legal suppression of brands of pornography which today seem laughably tame, is a reality. 50's New York is evoked with seamlessly-inter cut news reel footage. 50's Miami comes alive in super-saturated, 16mm-style color. The real Bettie Page seems to scamper, smile and pose before us, and yet the effect is curiously lightweight, barely lewd and not at all dangerous.
How odd that bondage's greatest icon should be so lacking in venom, and that this technically excellent biopic should have so little sting.
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