Made virtually synonymous with voluptuousness by Hollywood publicists and press in the 1940s and 1950s, Jane Russell's talents as a dramatic actress and musical performer were given significantly less...
Bemidji, Minnesota, USA
|Double Dynamite||Actor||Mildred "Mibs" Goodhug||7|
|The Las Vegas Story||Actor||Linda Rollins||7|
|Montana Belle||Actor||Belle Starr||7|
|Young Widow||Actor||Joan Kenwood||7|
|Gentlemen Marry Brunettes||1955||Actor||Bonnie Jones||19557|
|The French Line||1953||Actor||Mary Carson||19537|
|Hot Blood||1956||Actor||Annie Caldash||19567|
|The Fuzzy Pink Nightgown||1957||Actor||Laurel Stevens||19577|
|The Revolt of Mamie Stover||1956||Actor||Mamie Stover||19567|
|Gentlemen Prefer Blondes||1953||Actor||Dorothy||19537|
|Gentlemen Marry Brunettes||1955||Actor||Mimi Jones||19557|
|The Tall Men||1955||Actor||Nella Turner||19557|
|Johnny Reno||1965||Actor||Nona Williams||19657|
|Son of Paleface||1953||Actor||n/a||19537|
|His Kind of Woman||1951||Actor||Lenore Brent||19517|
|The Born Losers||1966||Actor||Mrs Shorn||19667|
|Bob Hope Special: Bob Hope's Road to Hollywood||1982 1981 - 1982||Actor||Guest||19827|
|Vincent Price: The Versatile Villain||1997 1996 - 1997||Actor||Interviewee||19977|
|Hollywood Stars' Screen Tests||1984 1983 - 1984||Actor||Guest||19847|
|Darker Than Amber||1969||Actor||n/a||19697|
|The Arthur Murray Party For Bob Hope||1959 1958 - 1959||Actor||guest||19597|
|Robert Mitchum: The Reluctant Star||1990 1989 - 1990||Actor||n/a||19907|
|Fate Is the Hunter||1964||Actor||Herself||19647|
|The 9th Annual Movieguide Awards||2000 1999 - 2000||Actor||Presenter||20007|
|Howard Hughes: His Women and His Movies||Actor||Interviewee||7|
|The Bob Hope Show (02/15/61)||1960 1959 - 1960||Actor||n/a||19607|
|Reflections on the Silver Screen With Professor Richard Brown||1995 1988 - 1995||Actor||Guest||19957|
|Hollywood, the Golden Years||Actor||n/a||7|
|Inside the Dream Factory||1994 1993 - 1994||Actor||n/a||19947|
|The Hollywood Fashion Machine||1994 1993 - 1994||Actor||n/a||19947|
|The Desilu Playhouse||1959 1957 - 1959||Actor||Performer||19597|
|The Yellow Rose||1983 1982 - 1983||Actor||Rose Hollister||19837|
|Bob Hope & Friends: Making New Memories||1991 1990 - 1991||Actor||n/a||19917|
|100 Years of Hope and Humor||2002 2001 - 2002||Actor||Interviewee||20027|
|The Golden Globe's 50th Anniversary Celebration||1993 1992 - 1993||Actor||n/a||19937|
|49th Annual Golden Globe Awards||1991 1990 - 1991||Actor||n/a||19917|
|Bob Hope: The First Ninety Years||1992 1991 - 1992||Actor||n/a||19927|
|American Cinema||1994 1993 - 1994||Actor||n/a||19947|
|Ranier: The Mountain||1999 1998 - 1999||Producer||funding||3|
|His Kind of Woman||1951||Song Performer||("Five Little Miles From San Berdoo" "You'll Never Know")||1|
|American Cinema||1994 1993 - 1994||Song Performer||song performer "Lookin' For Trouble"(("The Star"))||1|
|Burlesque||2010||Song Performer||("Diamonds Are A Girl's Best Friend (Swing Cats Mix)")||1|
|Appeared in summer stock and regional theater in such plays as "Janus," "Skylark" and "Bells Are Ringing"|
|Debuted in a successful solo nightclub act at the Sands Hotel in Las Vegas|
|Performed stage act in London and New York City|
|Made last feature film for seven years, the unsuccessful "The Fuzzy Pink Nightgown"|
|Re-established professional relationship with Hughes; loaned to United Artists to star in "The Young Widow"|
|Moved with first husband Bob Waterfield to Georgia when he was drafted; put on suspension by Hughes|
|Weathered censorship scandal surrounding two scenes (one in a bubble bath, the other a dance number) from "The French Line"|
|Signed to a seven-year contract by film mogul Howard Hughes|
|Played Rose Hollister on the primetime TV drama, "The Yellow Rose" (NBC)|
|Family moved to Van Nuys after father received promotion|
|Released a self-titled solo album with MGM Records|
|Returned to film for featured role in "Fate is the Hunter"|
|Made her film debut in "The Outlaw"; film completed in 1941, and released for a limited showing two years later; had a general release in 1946|
|Negotiated new contract to make five films for Hughes; was to be paid $1000 per week for 20 years|
|Formed Russ-Field Productions with her husband Bob Waterfield as executive producer|
|Recorded several religious-themed singles and albums with Beryl Davis, Connie Haines and Della Russell (no relation; later replaced by Rhonda Fleming); billed themselves as "The Four Girls"; performed on nightclub circuit and on TV for several years|
|Made Broadway debut as a replacement for Elaine Stritch in "Company"|
|Enjoyed first genuine success onscreen in "The Paleface" oppposite Bob Hope|
|Last film to date, "Darker Than Amber"|
|Enjoyed biggest box office success of her career with "Gentlemen Prefer Blondes," co-starring Marilyn Monroe|
|Wrote her autobiography, Jane Russell: My Path and My Detours|
|Made a long series of TV commercials in the 1970s for the Playtex "Cross Your Heart" bra|
|Was well-received in singing stints at the Latin Quarter Club in Miami Beach and on Kay Kyser's "Kollege of Fun and Knowledge" musical program|
Born Ernestine Jane Geraldine Russell in Bemidji, MN, she was the sole sister amidst a brood of four boys born to Roy Russell and Geraldine Jacobi on June 21, 1921. The family moved several times during her early years, first to Canada (home to Russell's grandparents), then to Minnesota and finally to southern California. Russell's mother was a former actress and approved of her daughter's interest in music and drama. According to her 1985 autobiography, Russell's childhood was also flecked with genuine drama - she survived two assaults and a botched abortion at 19, which resulted in her becoming unable to naturally conceive. After her father's early death at the age of 46, Russell went to work as a receptionist to help support her family. She also earned money as a model, with her mother continuing to encourage her artistic interests by urging her to study with famed acting coach Maria Ouspenskay. But in 1940, the young girl's life was about to change.
After seeing photographs of the buxom bombshell, Howard Hughes signed his latest discovery to a seven-year contract full of the usual binding terms that marked Hughes' legal dealings with new actresses. True to his obsessive nature, Hughes was fixated on the gravity-defying aspects of Russell's figure, and mapped out all manner of displaying it to the fullest degree in her feature debut, "The Outlaw," which gave a hot-blooded account of the romance between Billy the Kid and a wanton named Rio (Russell). According to Hollywood legend, early rushes of the film left Hughes displeased about the level of exposure given to Russell's breasts in the film, and he designed a special bra that would exploit them to absurd levels. In her autobiography, Russell stated that she found Hughes' uber-bra too constraining to wear, and simply wore her own undergarment during the filming of the picture.
Notorious in Hollywood circles for bedding his protégés, Hughes never succeeding in doing so with Russell, since she had married her high school sweetheart, future professional football player Bob Waterfield in 1943. He did put her on a grueling promotional routine that forced her to endure endless remarks about her breast size and proclivities. She shouldered the comments with impressive reserve and good humor; however, censorship issues and Hughes' own perfectionism forced "The Outlaw" to be pulled from theaters in 1943 to spend the next four years in reshoots and reedits. He also kept Russell off movie screens until the picture could be released. She only made one other film between 1941 and 1947 - a weepy romance called "The Young Widow" (1946) which she shot while briefly on loan to United Artists.
Despite the fact that her debut film had yet to play an extended date in theaters, Russell was exceptionally popular during the early 1940s as a WWII pinup. The extensive promotional campaign for "The Outlaw" had given her wide exposure, as did the famous image posed seductively against a haystack. By the time "The Outlaw" was finally released in its finished form, she was a star, though one known largely for her physique than her acting abilities. Hughes propagated that image with a series of lightweight dramas and musicals that presented her in a series of revealing or formfitting costumes. His obsession with her figure reached its most absurd apex with 1954's "The French Line," a harmless musical marked by scene after scene of leering angles at Russell's chest - made all the more unseemly by use of the 3-D process. The censors pounced upon the film prior to its general release, and Hughes eventually sent a much tamer version to theaters.
While Hughes was busy marketing Russell as prime cheesecake, the actress was quietly building a reputation as a capable actress and singer who could handle both drama and light comedy. She impressed audiences and critics alike in several team-ups with Bob Hope, starting in 1948 with "The Paleface," a loan-out to Paramount which cast her as Calamity Jane opposite Hope's traditional wisecracking coward. Their pairing was so successful that a sequel, "Son of Paleface" (1952) was ordered up, earning her an Oscar nomination for her rendition of "Am I In Love?" with Hope and Roy Rogers. Russell also worked well with Robert Mitchum in two noir dramas, "His Kind of Woman" (1951) and "Macao" (1952). Both actors projected enormous sex appeal in their scenes together, as well as the sense that both were approaching the overheated material with tongues planted firmly in cheeks.
Russell reached the apex of her movie career with the sparkling 1953 musical "Gentlemen Prefer Blondes." Paired with Marilyn Monroe - another actress whose abundant sexuality overshadowed her acting abilities - Russell was hailed by critics for her dry comic delivery and singing talents. A smash hit at the box office and on the record charts, it elevated her beyond the restraints of her pinup persona and showed her as a full-fledged and multifaceted actress. She shot her last film for Hughes - "Underwater," in 1955 - and soon after, began to take charge of her professional and personal life in bold strokes.
She and Waterfield launched their own production company, Russ-Field Productions, and oversaw three of her own pictures between 1955 and 1957. A well-liked singer who often performed with the Kay Kyser Orchestra in the 1940s, Russell also enjoyed a recording career and a touring nightclub act as a solo performer and in vocal trios, often with fellow actress Rhonda Fleming. After adopting two children with Waterfield, she campaigned heavily for the Federal Adoption Amendment of 1953 (which allowed children fathered by American servicemen overseas to be adopted by families in the United States) and later founded the World Adoption International Fund (WAIF) in 1956, which helped find homes for over 50,000 children. A political conservative and born-again Christian, she also launched the Hollywood Christian Group and sponsored a weekly Bible study in her home.
Unfortunately, Russell's film career never blossomed as it should have in the late 1950s. Her efforts during this period were likable, including a sequel to "Gentlemen Prefer Blondes" called "Gentlemen Marry Brunettes" (1955), but fared only moderately well with audiences. Russell scaled back her movie roles and concentrated on stage and television; her final film appearances came in a string of low-budget Westerns in the late 1960s and in the violent detective drama "Darker Than Amber" (1970). The following year, she replaced Elaine Stritch on Broadway in the musical "Company."
She returned to the public eye in the 1970s as the spokesperson for the Playtex Cross Your Heart bra, which was made for abundantly endowed woman like herself. Though her acting appearances were only occasional at best - she appeared in several episodes of the primetime soap opera "The Yellow Rose" (NBC, 1983-1990) - she remained active with contributions to numerous documentaries about Hollywood's Golden Age, her favorite co-stars, and Howard Hughes. She also penned her autobiography, Jane Russell: My Paths and Detours, in 1985, which revealed the bouts of infidelity that brought her first marriage to an end, as well as struggles with alcohol.
In 1989, she received the Living Legacy Award from the Women's International Center for her tireless work for adoption groups. She launched a new nightclub act in 2006 with performers culled from the senior citizen ranks of Santa Maria, her hometown after the death of her third husband in 1999. The act, called "The Singing Forties," performed at the Radisson Hotel in Santa Maria and earned Russell high praise for her stage presence and vocal skills. In interviews, Russell stated that she had put together the act because of her frustration over adequate entertainment resources for older residents in Hollywood. Russell was portrayed by actress Erika Nann in the 1996 TV movie "Norma Jean and Marilyn," which depicted her placing her hand and footprints alongside Monroe in the sidewalk outside Graumann's Chinese Theatre in 1953. Actress Renee Henderson later played Russell in the Monroe miniseries "Blonde" in 2001. The actress died at age 89 on Feb. 28, 2011 at her home in Santa Maria, CA.
|Robert John Waterfield Jr||Son||Adopted at nine months old in 1956|
|Roger Barrett||Husband||Met while doing stock work together in Michigan; Married Aug. 25, 1968 until his death of a heart attack Nov. 18, 1968|
|John Peoples||Husband||Married Jan. 31, 1974 until his death April 1999|
|Roy Russell||Father||died in 1937 after a gallstone operation|
|Jamie Russell||Brother||born in 1927|
|Kenneth Russell||Brother||born in 1925|
|Thomas Russell||Brother||born in 1924|
|Wallace Russell||Brother||born in 1929|
|Bob Waterfield||Husband||High school sweethearts; Divorce finalized July 1968; Russell received custody of two older children and Waterfield received custody of youngest child|
|Tracy Waterfield||Daughter||adopted as newborn on February 15, 1952|
|Thomas Waterfield||Son||adopted as infant in December 1952|
|Max Reinhardt's Theatrical Workshop|
|Van Nuys High School|
|Evidence of Howard Hughes' Jane Russell bosom fixation were found in such remarks as "There are two reasons why men will pay to see her." Hughes was not alone, however, in making sarcastic remarks about Russell's cleavage. Bob Hope, for instance, once introduced her as "the two and only Jane Russell."|
|In 1956, co-founded (with Irene Dunne, Loretta Young and June Allyson) WAIF, an adoption organization that seeks to place older, handicapped, foreign-born and minority children with adoptive families.|
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