Harron's biography, specializing on Page's early life, start in pin-ups and notoriety due to being the target for a Senate hearing on indecency and her subsequent born-again Christianity, is very enjoyable, and Gretchen Mol is great at portraying the inner sexiness, naivety and Southern charm that made the Nashville-born Page take the world by storm. Though it made the biopic more graceful by concentrating on the earlier times, it would have been more complete had it also included her later, troubled times, punctuated with brushes with the law and institutionalization for schizophrenia, as well as being greatly financially troubled due to not getting royalties for her years of photo-work and celebrity. Thankfully, late in life, that was rectified and she was able to live her last years decently and in happiness, dying of a heart attack at 85, three years after seeing Harron's work come to light, and her success come full circle...

“Adam and Eve were naked in the Garden of Eden. When they sinned they put on clothes…” That was the philosophy of this legendary model. She (Gretchen Mol) started off life as a god-fearing lass but quickly realised that many of the men around her, whom she ought to have been able to trust, were brutes. Rather than cower away and pine, though, she decides to head to New York City where she soon finds herself with a photographic contract modelling lingerie and swimwear. It's only a short hop from there to starring in proscribed adult movies - but during all this time she has never strayed far from her Christian roots and it may well be that that is to where she will return once the fuss has died down and the industry moved on considerably from her own comparatively tame involvement with pornography. All the while, the US Senate (David Strathairn) is being told that the biggest danger to the fabric of their society is not communism, but a creeping licentiousness that is an affront to God. With multiple investigations going on and sting operations trying to ensnare the publishers, distributors and sellers of her material, it actually becomes quite dangerous for her to work even as this witchhunt exposes the hypocrisies of censorship far more effectively than anything she displays. The story here is a little bit on the fluffy side. Possibly because it is trying to squeeze in far too much plot into ninety minutes and so doesn't really have much time to develop her character or those of the folks around her. Mol, though, delivers engagingly as her portrayal of this ground-breaking woman who was certainly an exhibitionist, but who was also a feminist - and a proud and purposeful one at that, takes shape. The score and the look of this production also work well to support some writing that spotlights the extent of the double standards that prevailed in a 1950s America that certainly didn't always practice what it preached and often found women even more vociferous than their menfolk whe it came to being offended.