David Strathairn is upset. The tub-thumping Senator is chairing an investigation into magazine porn, 50’s-style, and he doesn’t like what he sees. Notably the attention-seeking, fish-net stocking-clad legs of celebrity pin-up Bettie Page. It’s in stark contrast to the clean-cut officer who coyly approaches Bettie in the lobby where she’s waiting to be called to the chair. His smile of recognition suggests he’s not too distressed by her fame, or her legs.

Thus the tone is set for Mary Harron’s bouyant bio-pic of a pin-up’s pin-up. Discard any thoughts of a sex-n-sleaze revelation for this femme fatale is way ahead of her time. As clean-living as a God-fearing Christian can be, Bettie simply can’t see the harm in her work. And nor do we, today. Harron wastes little time on Bettie’s back-story (abusive father, gang rape) so what you see is, largely, what you get. Gretchen Mol delivers a steady performance with Tennessee sweetness being Bettie’s cornerstone – here is an eternally sunny woman and that may well be the truth, but it’s not a particularly dramatic one.

As she is seduced by modelling and the graphic photo-novels that launched her reputation, Harron glosses over much of Bettie's story, implied action creating more questions than it answers. There's a desire to stay with her publishers Chris Bauer and Lili Taylor for the seedy, side-stepping pair whom scandalise the Senator are much more interesting. Their story heightens the film’s abrupt ending when Bettie gives it up for God - Harron has quickly run out of things to say. Handsomely shot in black and white and Miami Kodachrome, The Notorious Bettie Page is a jaunty film with promise. Disappointingly, it stays that way too.

// COLIN FRASER