Joyce MacKenzie, who portrayed Jane opposite Lex Barker in the 1953 film Tarzan and the She-Devil, has died. She was 95.
MacKenzie died June 10 at a health care facility in Hollywood, her son Norman Leimert told The Hollywood Reporter.
MacKenzie also played the wife of Robert Mitchum’s character in The Racket (1951) and a newspaper publisher’s daughter opposite Humphrey Bogart in Deadline — U.S.A. (1952), and in the 3D musical The French Line (1953), her model character exchanged identities with Jane Russell’s.
A onetime contract player at Fox, MacKenzie appeared with Barker in his fifth (and last) stint ...
MacKenzie died June 10 at a health care facility in Hollywood, her son Norman Leimert told The Hollywood Reporter.
MacKenzie also played the wife of Robert Mitchum’s character in The Racket (1951) and a newspaper publisher’s daughter opposite Humphrey Bogart in Deadline — U.S.A. (1952), and in the 3D musical The French Line (1953), her model character exchanged identities with Jane Russell’s.
A onetime contract player at Fox, MacKenzie appeared with Barker in his fifth (and last) stint ...
- 7/15/2021
- The Hollywood Reporter - Film + TV
Joyce MacKenzie, who portrayed Jane opposite Lex Barker in the 1953 film Tarzan and the She-Devil, has died. She was 95.
MacKenzie died June 10 at a health care facility in Hollywood, her son Norman Leimert told The Hollywood Reporter.
MacKenzie also played the wife of Robert Mitchum’s character in The Racket (1951) and a newspaper publisher’s daughter opposite Humphrey Bogart in Deadline — U.S.A. (1952), and in the 3D musical The French Line (1953), her model character exchanged identities with Jane Russell’s.
A onetime contract player at Fox, MacKenzie appeared with Barker in his fifth (and last) stint ...
MacKenzie died June 10 at a health care facility in Hollywood, her son Norman Leimert told The Hollywood Reporter.
MacKenzie also played the wife of Robert Mitchum’s character in The Racket (1951) and a newspaper publisher’s daughter opposite Humphrey Bogart in Deadline — U.S.A. (1952), and in the 3D musical The French Line (1953), her model character exchanged identities with Jane Russell’s.
A onetime contract player at Fox, MacKenzie appeared with Barker in his fifth (and last) stint ...
- 7/15/2021
- The Hollywood Reporter - Movie News
The Academy of Motion Picture Arts and Sciences has received a gift of costume design drawings and related production materials documenting the career of costume designer Michael Woulfe. Woulfe's career highlights include work on such films as Clash by Night (1952), The French Line (1953), Son of Sinbad (1955) and The Conqueror (1956). He was known for styling actresses such as Judy Garland, Jane Russell and Jean Simmons, and for designing the employee uniforms for four Las Vegas hotels and casinos owned by Howard Hughes, as well as the costumes for the Las Vegas nightclub shows of Debbie Reynolds, Lena
read more...
read more...
- 10/31/2013
- by Rebecca Ford
- The Hollywood Reporter - Movie News
Back in 1953, when Howard Hughes was using Jane Russell’s obvious frontal attributes as a selling point for her films, the posters for her first 3D movie, “The French Line,” promised, “She’ll knock Both your eyes out!” Cut to nearly 60 years later, and now we’ve got “Glee” star Heather Morris telling the camera that her boobs (her word, not mine) will look great in 3D, and then proving it by provocatively shimmying up to the camera for “Glee: The 3-D Concert Movie.” And no one’s gotten quite the same mileage out...
- 8/11/2011
- by Alonso Duralde
- The Wrap
“It’s better to burn out than to fade away.”
–Kurt Cobain, quoting lyrics by Neil Young, in his suicide note
I was saddened but frankly not all that surprised to receive word of the death of 27-year-old British singer Amy Winehouse on Saturday. Based on the sort of lifestyle that Winehouse had been leading, as documented relentlessly by the British tabloids over the nearly five years since “Back to Black” (2006) — her 1960’s soul/R&B-inspired second album that was highlighted by the hit single “Rehab,” which Rolling Stone recently named the 194th greatest song of all-time — made her a five-time Grammy winner and a household name, it was only a matter of time. Considering the fact that she hadn’t released any new material since “Back to Black,” and demonstrated little to no progress in overcoming the personal demons that as often as not kept her from performing her existing material,...
–Kurt Cobain, quoting lyrics by Neil Young, in his suicide note
I was saddened but frankly not all that surprised to receive word of the death of 27-year-old British singer Amy Winehouse on Saturday. Based on the sort of lifestyle that Winehouse had been leading, as documented relentlessly by the British tabloids over the nearly five years since “Back to Black” (2006) — her 1960’s soul/R&B-inspired second album that was highlighted by the hit single “Rehab,” which Rolling Stone recently named the 194th greatest song of all-time — made her a five-time Grammy winner and a household name, it was only a matter of time. Considering the fact that she hadn’t released any new material since “Back to Black,” and demonstrated little to no progress in overcoming the personal demons that as often as not kept her from performing her existing material,...
- 7/25/2011
- by Scott Feinberg
- Scott Feinberg
Voluptuous star of The Outlaw and Gentlemen Prefer Blondes
The actor Jane Russell, who has died aged 89, was among the most desired women of the 20th century. She had great erotic force and great likability. Russell made just over 20 films, but only a handful of those are remembered: her first film, The Outlaw (1943); the comedy western The Paleface (1948), with Bob Hope; and the musical Gentlemen Prefer Blondes (1953), co-starring Marilyn Monroe.
The Outlaw, produced by Howard Hughes, was famously promoted with a series of publicity stills showing Russell lying in the hay, and bending down to pick up bales. The experience made her savvy about the vulgarity of the film industry. Her breasts were less covered and more fetishised, lit, photographed, designed and dreamed about than any woman's in the cinema had been until that time. Hughes even designed a special bra for her to wear in the film (although she...
The actor Jane Russell, who has died aged 89, was among the most desired women of the 20th century. She had great erotic force and great likability. Russell made just over 20 films, but only a handful of those are remembered: her first film, The Outlaw (1943); the comedy western The Paleface (1948), with Bob Hope; and the musical Gentlemen Prefer Blondes (1953), co-starring Marilyn Monroe.
The Outlaw, produced by Howard Hughes, was famously promoted with a series of publicity stills showing Russell lying in the hay, and bending down to pick up bales. The experience made her savvy about the vulgarity of the film industry. Her breasts were less covered and more fetishised, lit, photographed, designed and dreamed about than any woman's in the cinema had been until that time. Hughes even designed a special bra for her to wear in the film (although she...
- 3/2/2011
- by Mark Cousins
- The Guardian - Film News
Fixated by her pneumatic figure, Hollywood sold her as a smouldering sexpot. But there was so much more to Jane Russell than that
If ever a woman was at risk of being reduced to her body parts, it was that star of the 1940s and 1950s, Jane Russell, who was initially subject to a level of objectification as relentless as it was breathtaking. Russell died on Monday at the age of 89. She was born in Minnesota, brought up in southern California, and broke into the film industry in her late teens. An apocryphal Hollywood story had her discovered by eccentric millionaire Howard Hughes while working as a dentist's receptionist, but the reality was slightly less boom-bang: accompanying a friend to a photographer's studio in 1940, she was spotted by an agent who passed on pictures of her to director Howard Hawks. She was immediately cast in her first film, The Outlaw.
If ever a woman was at risk of being reduced to her body parts, it was that star of the 1940s and 1950s, Jane Russell, who was initially subject to a level of objectification as relentless as it was breathtaking. Russell died on Monday at the age of 89. She was born in Minnesota, brought up in southern California, and broke into the film industry in her late teens. An apocryphal Hollywood story had her discovered by eccentric millionaire Howard Hughes while working as a dentist's receptionist, but the reality was slightly less boom-bang: accompanying a friend to a photographer's studio in 1940, she was spotted by an agent who passed on pictures of her to director Howard Hawks. She was immediately cast in her first film, The Outlaw.
- 3/2/2011
- by Kira Cochrane
- The Guardian - Film News
We look back at Jane Russell's movie career, from The Outlaw through Gentlemen Prefer Blondes to her late-60s cameos
As a 20-year-old and the object of Howard Hughes's attentions, Jane Russell was force-fed into a series of low-cut dresses for The Outlaw (1943).
She plays Doc Holliday's girl Rio, who falls in love with a wounded Billy the Kid when he hides out with her, on the run from Pat Garrett. Not remotely historically accurate, this blood-heat western is best remembered for the censorship squabbles over exactly how far Russell was allowed to lean over while tenderly ministering to the Kid. Hughes's legendary underwired cantilevered brassiere was designed during the shooting of the film, but Russell denied she ever wore it.
The Paleface (1948) was a real change of pace: a comedy western with Bob Hope as the useless dentist Peter Potter, who plays husband to Russell's deep-cover Calamity Jane.
As a 20-year-old and the object of Howard Hughes's attentions, Jane Russell was force-fed into a series of low-cut dresses for The Outlaw (1943).
She plays Doc Holliday's girl Rio, who falls in love with a wounded Billy the Kid when he hides out with her, on the run from Pat Garrett. Not remotely historically accurate, this blood-heat western is best remembered for the censorship squabbles over exactly how far Russell was allowed to lean over while tenderly ministering to the Kid. Hughes's legendary underwired cantilevered brassiere was designed during the shooting of the film, but Russell denied she ever wore it.
The Paleface (1948) was a real change of pace: a comedy western with Bob Hope as the useless dentist Peter Potter, who plays husband to Russell's deep-cover Calamity Jane.
- 3/1/2011
- by Andrew Pulver
- The Guardian - Film News
Los Angeles — She was the voluptuous pin-up girl who set a million male hearts to pounding during World War II, the favorite movie star of a generation of young men long before she'd made a movie more than a handful of them had ever seen.
Such was the stunning beauty of Jane Russell, and the marketing skills of the man who discovered her, the eccentric billionaire Howard Hughes.
Russell, surrounded by family members, died Monday at her home in the central coast city of Santa Maria. Her death from respiratory failure came 70 years after Hughes had put her on the path to stardom with his controversial Western "The Outlaw." She was 89.
Although she had all but abandoned Hollywood after the 1960s for a quieter life, her daughter-in-law Etta Waterfield said Russell remained active until just a few weeks ago when her health began to fail. Until then she was active with her church,...
Such was the stunning beauty of Jane Russell, and the marketing skills of the man who discovered her, the eccentric billionaire Howard Hughes.
Russell, surrounded by family members, died Monday at her home in the central coast city of Santa Maria. Her death from respiratory failure came 70 years after Hughes had put her on the path to stardom with his controversial Western "The Outlaw." She was 89.
Although she had all but abandoned Hollywood after the 1960s for a quieter life, her daughter-in-law Etta Waterfield said Russell remained active until just a few weeks ago when her health began to fail. Until then she was active with her church,...
- 3/1/2011
- by AP
- Huffington Post
3D has had many heydays through out the history of cinema. The early fifties saw Rko running with the new process and Universal taking punts on many films, some successes and some flat out failures. The ship finally sank after it was deemed too expensive to upkeep dual projectors and panned after terrible syncing issues with running two strips of film simultaneously. The delivering technology simply couldn't keep up with the "fad" and it wasn't until 1954 when single strip 3D was perfected. After that, everyone got into it, even Hitchcock, famously releasing Dial M for Murder in the third dimension. Shlock classic The Creature From the Black Lagoon and Howard Hawks' hit The French Line, which managed to fit Jane Russell in all her glory, into 3D saw the format finally with a steady footing. Or so it seemed until once again cinema finances crumbled when wide-screen formatted screens...
- 9/9/2009
- by Neil Innes
- t5m.com
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.