..Gary Dretzka
..Noah Forrest
..Leonard Klady
..R.J. Matson
..David Poland
..Douglas Pratt
..Ray Pride
..Michael Wilmington

The Notorious Bettie Page

Directed byMary Harron
Picturehouse

What is the most scandalous thing I have had to say this year?

I really enjoyed The Notorious Bettie Page.

This is, somehow surprisingly, only the third feature film directed by Mary Harron. She collaborated with The L Word collaborator Guinevere Turner on the script, which makes me wonder whether there is a gay culture element to the project that I just don’t understand.

Anyway...

I found the film funny, silly, witty, sexy, and almost a little giddy. The story of Bettie Page, which, amazingly, plays like the comedic kissing cousin of the ever-serious Good Night, And Good Luck, embraces the innocent exuberance that – at least in this take on her – defined Ms. Page herself in those days.

Gretchen Mol gives a career changing performance in what is likely to be a modestly successful film when it lands in theaters next spring. But the film tells us much of what we don’t know of Ms. Mol... above and beyond her choices in female maintenance (though I imagine that period pubic hair was a performance point more than a personal choice)

God... I can’t believe I just wrote that.

But the thing is, it is a part of the movie. And one of the remarkable things about Ms. Mol’s performance is that she embodies the spirit that is attributed to Bettie Page in the film... that whenever she was nude, she never quite seemed naked. Or as Bettie sets the metaphor, Adam & Eve only put on their clothes after they realized they were naked.

Ironically, the career changing part of this role is not a function of the very successful nudity, but rather the comedic gifts that Ms. Mol displays. She’s really quite funny. And she is funny in an energetic and sometimes wonderfully sneaky way. Her work suggests not a future as a reactor, which is so often the norm for pretty actresses, but the kind of energy that demands a lead role or strong support roles that cause others to react.

Ms. Herron populates the film with supporting performances that are a hoot, reminiscent of the best star-studded Altman efforts. Lili Taylor and Chris Bauer get the biggest roles as the Claws, who run the photo studio where Bettie is turned pin-up. Hysterical team with great accents and a “we’re just trying to make a buck” attitude. David “Edward R. Murrow” Strathairn plays a Senator who is trying to stop the smut, flipping black & white roles. (The film is in most black & white with appropriate spurts of color.) Cara Seymour and Jared Harris are excellent as compatriots of Page and Dallas Roberts, who kills in Walk The Line, is a nasty piece of work in a small role here.

But the find of this film is the fun. It is the highest of camp, the humor sometimes so subtle that it evaded some folks in the audience I saw it with. But, like Reese Witherspoon in Election (a very different, though analogous performance), Mol brings us through with relentless energy.

Harron’s styling, which includes both black & white and color (cinematography by Mott Hupfel) that matches 50s footage better than I have ever seen before in any film of any budget. And it often warmed my heart on that alone, I must admit. The story is taut, concise and never feels like a put on. When Bettie is happy or sad, it all feels real, albeit in a sepia tone glow.

But again, Gretchen Mol and a tone that is very hard to make work drives the experience. It’s not the most important film ever made or even the most important film I saw yesterday. But it was every bit as enjoyable as Thank You For Smoking... and a lot less cynical too boot... nudity and all.

- David Poland