input: 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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pos/neg ans: positive

input: The movie is actually too slow. There are some nice images but it cannot outweigh the fact that the movie is in fact boring. You see a sexual intercourse a lot of watermelons and a sexual intercourse while eating a melon and maybe a little bit more. It may sound even interesting to someone but believe me to watch it for 2 hours isn't fun at all. Though you laugh several times but it's really not enough and it may be more out of despair and disbelieve than out of fun. To disturb the boredom director tries to put few movie video-clips into the movie. They are really colorful clips of absurd songs maybe from the 50's but it's hard to say exactly and they are trying to be funny so hard that it's really sad. Several times you have a feeling that the plot could evolve into something, that a powerful scene is being created but at the end it just somehow evaporates and that's it. Beside the clips there are hardly any dialogs let alone music. The director is trying to be original and artistic at all cost. Personally I cannot recommend the movie. I believe that art is something that shouldn't be boring. During the projection there was yawning all around the cinema which just corroborates my short review.

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pos/neg ans:
negative