Filmmaker Mark Mori landed a rare gem while interviewing the late Bettie Page for his new documentary about the late pin-up - she confirmed she had spent time in an asylum. Mori spent the last decade of Page's life quizzing the icon about her high and low times for his film Bettie Page Reveals All, and he was stunned when she opened up to him about her mental health issues.
Mori tells WENN, "I was shocked to hear that she was in an insane asylum because she didn't bring that up in our interviews. There was a book in 1997, called The Real Bettie Page, which was published by Richard Foster. He brought that out and it was really not known publicly before he uncovered that.
"I followed up with her and she talked to me freely about it. There were a lot of unhappy things in her life and if you think about it this is fairly common among artists.
"She was the greatest model in front of a still camera in history, so, in a way, she is an artist. In a way she suffered for everyone else's benefit. She brought joy to so many people. She had joy in her life but she also had moments of great tragedy."
Page died on 11 December, 2008, in Los Angeles.
Late soul man James Brown is set to be exposed as a crazy oddball in a new documentary from the man behind the explosive new Bettie Page film. As The Help director Tate Taylor develops his Brown biopic, with 42 star Chadwick Boseman as the star, Mark Mori is making a very different film that will shed light on the Godfather of Soul's private life.
He tells WENN, "He's got a little secret part of his life. These are people who worked with him that have stepped forward and want to tell the story.
"Maybe I shouldn't boil it down to one word but the one thing they all agree on is he's crazy! The kind of ends he would go to to do things are kind of amazing and his public life is different than his private life in major ways."
Mori hit the headlines earlier this month (13) after revealing he had stumbled across never-before-seen shots of pin-up Page while researching his new film on the beauty icon.
A series of nude photos of 1950s Hollywood pin-up Bettie Page are to be unveiled in a new film biography. Mark Mori unearthed a treasure trove of unpublished shots of the beauty fully naked while researching new documentary Bettie Page Reveals All after learning that amateur photographer Dick Heinlein had captured the images as part of a 'camera club' outing to Westchester, New York in the early 1950s - before shooting nude models became legal.
The photo set was raided by local police, who arrested the snappers and models for disorderly conduct and indecent exposure, but Heinlein hid away his film roll before cops could confiscate it.
In the documentary, the photographer recalls, "Nudity back then was very unusual. Out of the woods, here comes this squad car! They had their guns drawn on a bunch of photographers (ordering us), 'Take the film out of your cameras!'"
Heinlein filed the pictures away for years - until agreeing to open up his archives for Mori, reports the New York Post.
Others interviewed for the Page biography include Playboy boss Hugh Hefner, burlesque beauty Dita Von Teese and supermodel Naomi Campbell.
Page died in 2008, aged 85.
A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
The second feature in the planet-conquering Japanese franchise opens with an all- Pokémon all-gibberish short feature that will have parents reaching for the Tylenol even sooner than expected then we cut to the main adventure titled "The Power of One." A scheming Pokémon Collector named Jirarudan begins snatching up winged Poki with the power to control fire lightning and ice destabilizing Earth's weather patterns. It's up to brave young Pokémon Trainer Ash Ketchum his chubby yellow pocket monster Pikachu and their friends to put things right.
It's a sad state of affairs when voice actor Ikue Otani manages to steal the show chirping his character's name over and over as the floppy-eared lightning-tailed Pikachu. The thespians lending their vocals to the human characters have less chance to be impressive saddled as they are with the film's clumsy English translation of Pokémon arcana and the occasional witless pun.
Kunihiko Yuyama's team puts no special stamp on the series' generic Japanese toon work which bears a closer resemblance to primitive TV fare in the "Speed Racer" or "Astro Boy" vein than the cutting-edge artistry going into modern anime epics such as "Princess Mononoke." Computer-rendered shots of Jirarudan's elaborate flying fortress and churning ocean waves are impressive in themselves but they clash with the traditionally animated material. Not that the grade school-age target audience is likely to mind.