Touch of Venus (Seiter,1948) is a musical comedy starring Ava Gardner as an ancient statue of Venus brought to life in a department store. The film's release coincided with a late-1940s peak in usage of the terms 'goddess' and 'Venus' in the fan and trade press, and chimed with contemporary discourses of the 'war goddess', a figure closely aligned with the femme fatale of film noir.One newspaper described Gardner as undergoing 'the goddess build-up' for the role.Exploring the film's promotion and reception, Felleman and Saltzberg's work on Gardner, and 1940s writing on celebrity divinisation, I discuss how Universal-International's campaign exploited the star's rising profile, including the Bakelite figurine of the star distributed to exhibitors, and beauty contest tie-ins where fans could measure themselves up against star and sculpture alike. This Bakelite Venus mediates between the marble fantasy of Gardner's 'Anatolean Venus', the authorship of the star, and the enveloping myth of screen stardom.But Hollywood pedestals are built to crumble, and the constructed ideals of classical beauty are here also exposed as a commodified travesty in marble, flesh and Bakelite. While Gardner was 'built-up' as a goddess, like her peers Rita Hayworth and Maureen O'Hara, this patriarchal construct of female beauty was also repressive, disempowering and de-humanising. This article explores the 'goddess build-up' and uses the Bakelite Venus as case study into its enduring divinising, and desecrating, connotations, which still resonate in celebrity culture today.