Bettie Page also appeared in lots of short films, usually five or seven minutes long.
In the mid 50's there were a lot of investigations going on, not only of the alleged communist infiltration within the movie industry, but of all sorts of culture regarded as indecent and harmful to moral standards. In 1956 the Elia Kazan movie Baby Doll with Karl Malden was banned by the Legion of Decency. In 1955 Irving Klaw became subject to a senate investigation, that tried to link pornography with juvenile delinqency. Klaw couldn't stand up to this kind of pressure, and in '57 he closed his business - and that also put an end to Bettie's modeling years.
The revival we are now experiencing at its peak first started in 1979, when Belier Press in New York reprinted some of the pictures from private photo sessions in four volumes, titled Betty Page - Private Peeks. This was about twenty years after she had ceased to appear in print. Back in '79 she was known mostly among fans in their forties and fifties and to some younger aficionados. The editor of Private Peeks volume 2 wrote that whatever became of Bettie, that is the question:
"There have been various stories, mostly erroneous about murder, suicide, a religious conversion and living in convent, but the most recent, best researched and almost certainly the most accurate is that Bettie Page is Alive and Well, lives in the South and has developed a Deep Religious belief in Christianity."
This was of course the perfect myth for a budding legend like Bettie Page: she should be either dead or religious - or preferably a combination of both - maybe absorbed in some sort of repentant social work, a kind of Major Barbara.
There really was some truth in those rumours, she had developed an interest in spiritual matters. When Irving Klaw had terminated his business, Bettie moved back to Florida and married an old boyfriend, Armond Walterson. This marriage bored her, they didn't really have much in common, and Bettie's interest was directed towards religion. She had a commanding experience at a local church, and later on, when she had left Armond and moved to Los Angeles, she also joined the Bible Institute of Los Angeles.
In L.A. she lived a secluded life, working as a secretary, e.g. for the Bible Institute and for Compton's Encyclopedia. She spent some time working for Billy Graham, and she also worked as a counselor, helping unmarried pregnant teenagers.
After divorcing Armond, she remarried her first husband Billy and lived with him for some time, but he almost killed her in a fight, so she left again. (I doubt that Hollywood can keep away from making a movie out of this in - shall we say a year or two? As a matter of fact, Demi Moore has already posed for some ludicrous stills as Bettie Page.)
In '67 Bettie met Harry Lear, who became her third husband. A good marriage in many ways it seems, but difficult, since Lear's former wife wouldn't leave him and Bettie in peace. Still, they managed to live together - more or less - for some eleven years.
Nice, pleasant and cozy, a girl to have interesting conversations with ...
This brings us to the year 1978, when the revival slowly picked up steam with the release of the first of Belier's Private Peeks. Robert Blue also made his - in my opinion - hideous airbrush paintings of famous Bettie Page poses. (I can imagine why he made them. There is no other way to really make a paper doll a doll the other fellas cannot steal. But then, why publish them?)
During the 80's and early 90's Bettie Page appeared in comic strips, by Eric Stanton and Dave Stevens for instance, illustrators like Frank Frazetta or Olivia De Barardinis drew and painted her, she ended up on posters for rock bands, and today crowds of Bettie Page look-alikes are filling the runways and covers of fashion magazines. Bettie even paved the way for a model's right to smile again in fashion photography. But nobody can, of course, compete with the real Bettie:
"I've never seen the impish glee in Bettie's eyes in any other model," says fashion editor of USA Today, Elizabeth Snead, in the Essex & Swanson book. And photographer Albert Watson is also quoted: "She may have appeared in cheap magazines, on cheap postcards, or was shot by some bad photographers, but she always rose above that. Seventy or eighty percent of her photographs, you could run in Vogue."
Today's models may cram the fashion scene with all of Bettie Page's fetish ware in slightly updated versions by Versace or Dolce & Gabbana, and some of them may even resemble Bettie, but they certainly don't look as healthy.
As illustrator John Silke points out in his book Bettie Page, Queen of Hearts (Dark Horse Books, Milwaukie, Oregon, 1995, ISBN 1-56971-124-0), Bettie seems to be in motion, even in her stills, they have a before and an after. We can imagine Bunny Yeager or Paula Klaw asking her to adopt yet another pose, or we can invent our own narrative ... This sense of motion is not so much a question of pose, or of certain angles of legs and arms, but mostly a question of her facial expression, her gaze. Intended motion, not mimicked motion.
"It seemed she would anticipate just what I wanted," Bunny Yeager says in Silke's book, "I would just throw adjectives at her, 'Look devilish! Questioning! Seductive! Surprised! Breathless! Innocent! Vivacious! Wanton! Dominating! Teasing!' It was like we were dancing together". "I was expressing myself with her body instead of mine," Yeager explains in Essex & Swanson. Bettie, on the other hand, says to Essex & Swanson that she tried to imagine the camera as if it were a man.
... still nice and pleasant somehow. No matter how bizarre the situation, she nevertheless kept her cheerful attitude. | | |
Of course, pornography, even the purely visual, is in need of a story. Sex needs only action, but pornography needs a story. Pictures with certain props suggest all sorts of happenings, whether it be just a telephone or whips and ropes. But even without those things, Bettie always told a story, alluding with her face to a long tradition of illustrations for pulp detective stories, and not least, the artwork that accompanied stories and serials in womens magazines of the 40's and 50's.
Bettie had a special talent for posing, that is obvious, even judging from the amateur pictures. Although they often were badly staged and lit, they convey the same persona, so it couldn't have been just in the eye of the professional photographer.
There are some pictures where she seems almost caught off-guard, were she reveals for a possibly unintended moment, an expression of some strange gravity. It would be easy to imagine this as the true Bettie - and the smiling Bettie as a commercial trademark, forced upon her by exploitation. Her sign were the smile and the bangs, and it was probably her very own. The 50's was a dashing decade alright, filled with post-war optimism - and maybe a trace of paranoia - but smiling bondage queens were not that common. The innocence of that scant and sweet clothing of her own design, together with occasional whips and ropes, made her at the same time both good and bad. But the off-guard pictures seem neither good nor bad; they just signal some kind of danger.
The both complex and straightforward, for short: enigmatic, nature of Bettie Page, together with the fact that she has not yet been used up by the proper movie industry, like Marilyn Monroe or James Dean, makes her perfect as raw material for contemporary dreams. The risk of course could be that a book like this de-iconizes her, remoulds her into a human like us, with everyday problems. On the other hand, that will probably work too. After all, we do live in the age of Ricki Lake and Oprah Winfrey.
(December 1996, © Copyright Karl-Erik Tallmo.)
See also:
Starwave's Celebrity Lounge interview with Bettie Page, March 1996
A Bettie Page Hyperlist of Sites