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
In "I Shot Andy Warhol," Valerie Solanas encounters a man who wants her to stomp all over his chest. In "The Notorious Bettie Page," Bettie Page meets a man at a party who asks her if she likes stomping on men. The two men say almost the exact same things, word for word. See more »
In the scene mentioned above (with the improperly used Stereo-Realist), many photographers are seen using simple 1940s-50s box cameras indoors. No large window or strong artificial lighting seen. Yet, the photographers were shown shooting with ease, as if they were shooting outdoors in bright light. In the 1950s, box cameras and the less sensitive films can only be used satisfactorily outdoors in good light. See more »
[Bettie reacts angrily when John sings a ribald song during a bondage photo shoot]
What's the matter, Bettie?
[John pulls the gag from Bettie's mouth]
It's your language, Mr. Willie.
Oh, it's just an old army ditty to help keep our spirits up while fighting the beastly Hun. Do you approve?
I believe in Jesus.
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craft service - Grover Cleveland, craft service assistant - Benjamin Harrison See more »
Canadian filmmaker Mary Harron is a cultural gadfly whose previous films laid bare some the artistic excess of the Sixties and the hollow avaricious Eighties. With "The Notorious Bettie Page" she points her unswerving eye at Fifties America, an era cloaked in the moral righteousness of Joe McCarthy, while experiencing the beginnings of a sexual awakening that would result in the free love of the next decade. Harron and her co-writer Guinevere Turner, are clearly not interested in the standard biopic of a sex symbol. This is a film about the underground icon of an era and how her pure unashamed sexuality revealed both the predatory instincts and impure thoughts of a culture untouched by the beauty of a nude body. If the details of Bettie's life were all the film was concerned about, then why end it before her most tragic period was about to begin. Clearly, Harron is more interested in America's attitudes towards sexual imagery then and now. Together with a fearless lead performance by Gretchen Mol and the stunningly atmospheric cinematography of W.Mott Hupfel III, she accomplishes this goal admirably, holding up a mirror to the past while making the audience examine their own "enlightened" 21st Century attitudes towards so-called pornography. As America suffocates under a new conservatism, this is a film needed more than ever.
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