Jane Russell Nude

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Jane Russell Nude
Did we get your attention? Good, because October is National Breast Cancer Awareness Month, and we’d like to help raise awareness for the American Cancer Society by celebrating the best breasts to ever grace the cinema screen.
So before we get to the ladies, please take some time to familiarize yourself with the American Cancer Society’s mission to fight Breast Cancer and do what you can to stop Breast Cancer. Now on to The Fifty Best Breasts in Movie History…
MAE WEST: IN THE BEGINNING
The woman who brought curves to the screen was Mae West, the taboo-breaking Brooklyn-born 1930s wisecracker who plied laughs while shaking her astonishing anatomy. Plenty of men wanted to come up and see her sometime, but Mae’s upper echelons actually helped saved lives in World War II. An inflatable life vest that created oversized flotation power was named the Mae West in honor of the star’s celebrated upper torso.

JANE RUSSELL: MILLION DOLLAR MAMMARIES
Thanks to Howard Hughes’ infantile preoccupation with bosoms, Jane Russell became a star. Hughes’ wildly expensive and lethally overheated PR campaign for Russell’s debut vehicle “The Outlaw” created long-running censorship wars because the marketing campaign played up Russell’s cleavage with too much gusto. Writer George S. Kaufman referred to the Russell promotion as “A Sale of Two Titties,” and all of Russell’s flicks included some sort of bosomy double-entendre (our favorite was for “The French Line” : Jane Russell in 3-D… she’ll knock both of your eyes out!”).

MARILYN MONROE: THE ULTIMATE ICON
Even at this late date, Marilyn Monroe represents the pinnacle of movie star perfection. While her tight costumes showed off her figure brilliantly, we still find ourselves sneaking a peek at the notorious nude calendar photos she posed for in her pre-stardom period. When asked if she had anything on during that legendary shoot, MM replied: “Yes, I had the radio on.” Needless to say, we’re still tuned in to her frequency.

DOROTHY DANDRIDGE: BREAKTHROUGH BEAUTY
Trivia buffs recall that Dorothy Dandridge was the first African-American performer to receive a Best Actress Oscar nomination. Breast buffs also recall Dandridge – for her firm, supple, utterly hypnotic orbs. While everyone knows “Carmen Jones” and her low-cut blouse, check out Dandridge shaking her stuff in the limbo dance from “Island in the Sun.” And how we envy the audiences who attended Dandridge’s classic 1950s nightclub revue, with the star holding up her legendary strapless gowns with a forceful display of anatomy.

JAYNE MANSFIELD: BRING ON THE HOME-GROWN COW JUICE
How the censors ever allowed the sight gag with Jayne Mansfield clutching the milk bottles to her chest in “The Girl Can’t Help It” is the ultimate mystery. But Jayne is easily the ultimate movie mammary mama. Okay, so she was a Marilyn Monroe clone and the bulk of her film work was dreck. But Jayne’s astonishing 40D frontline and her penchant for camp self-deprecatory humor made her a beloved icon in her own right. Today she possesses a superstar aura and her name alone conjures up images of Coleridge-worthy pleasure domes. No wonder Jack Paar presented her on his talk show with the classic quip: “And here they are, Jayne Mansfield.”

SOPHIA LOREN: NEAPOLITAN KNOCKERS
Sporting a jaw-dropping set of 38Cs, Sophia Loren first gained notice in the Rome movie industry with roles that showed off her, uh, talent. Sexy slave girls in ancient costume dramas were her initial specialty, with an emphasis on skimpy costumes ( “Two Nights with Cleopatra” and “Aida” come to our dirty minds). Hollywood eventually noticed (how could you miss them?) and her initial English-language roles placed greater emphasis on anatomy rather than acting (the wet dress photos from “Boy on a Dolphin” can still inspire gasps). Sophia eventually was taken seriously, with a well-deserved Oscar for her shattering performance in “Two Women.” But even though she rightfully earned respect as an actress, we’re still salivating over her equipment as a movie star.

See the other gorgeous ladies who made the list in Part 2 of The Fifty Best Breasts in Movie History>>>
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Wow, right on the spot. They were the best.
Where is Anita Ekberg? Didn’t she have huge breasts?
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Scandalous Facts About Jane Russell, The Brunette Bombshell


Scandalous Facts About Jane Russell, The Brunette Bombshell

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Jane Russell may be best known for being the brunette in Gentlemen Prefer Blondes . Even against those “odds,” she became one of the most desirable women in Hollywood, known for her sultry appeal and curvaceous figure—but behind the scenes, Russell knew tragedy and heartbreak far too well. Here are 50 scandalous facts about the brunette bombshell.
Jane Russell was known for playing sultry femme fatale types onscreen, but behind the scenes, she could be a goody-two shoes. She was a staunch Republican and devout Christian—that’s not an exaggeration. Russell actually organized a weekly Bible study at her home which she named the “Hollywood Christian group.”
In fact, while making her most famous film, the classic Gentlemen Prefer Blondes, Jane Russell actually tried to convert her co-star, Marilyn Monroe , to Christianity. As Monroe put it, “Jane tried to convert me (to religion), and I tried to introduce her to Freud .” Obviously, neither woman budged in her beliefs.
Russell’s career began in a way that seems like a classic old Hollywood cliché. She was a buxom 19 year old working in a humdrum job at a doctor’s office when infamous Hollywood director Howard Hughes walked through the door. Hughes was well-known for his love of beautiful young women, so it’s no surprise that he immediately focused on Jane Russell.
Hughes insisted that he could make Russell a star, and before long, she had signed a seven-year contract with him. First up was The Outlaw, a Western about infamous outlaw Billy the Kid, where she played his love interest. For her debut, she was paid the princely sum of $50 per week. It would be the movie that would put her on the map— but for all the wrong reasons.
The sultry role of Rio in The Outlaw made a breakout star out of Jane Russell—even though it was barely seen for nearly five years after its initial release. The film was supposed to come out in 1941, but the Hollywood Production Code Administration objected to the amount of skin that was shown, particularly by Russell. Hughes, who had directed the film, had to think fast—so he came up with a devious plan.
Hughes had cut some more salacious footage from the film, but the whole ordeal had scared off the film’s distributor—and if it didn’t get released, he’d lose millions. In order to draw attention to the film and create a demand for it, he actually called for it to be banned. He manufactured public outcry, secretly calling concerned citizens to tip them off about the “vulgar” film.
Somehow, this ploy worked. The attention that it drew to the film created a demand— but the story didn’t end there . Upon its release, the Production Code once again pulled it. It was such a grueling process, Russell later said that she felt as it she spent the first half of the 1940s doing nothing but promoting her debut film.
The film was finally fully released in 1946, and it was a hit. The controversy over The Outlaw had made a star of Russell, and its success just cemented her place in Hollywood. That didn’t mean Russell had it made, though. Her next movie, the 1946 drama Young Widow , was a failure—but it would take more than that to keep Jane Russell down.
Of course, Russell wasn’t exactly sitting on her hands while she waited for the release of The Outlaw . She posted for photos and became a popular pin-up girl during that time—especially with WWII servicemen.
That wasn’t Russell’s only connection to the armed forces—her father, Roy William Russell, had been a first lieutenant in the US Army. However, it was her mother’s footsteps that she followed in. Geraldine Russell had been an actress before starting their family in Bemidji, Minnesota. Jane ended up being the first of five children for the Russell family.
Russell’s mother was a stage mom if there ever was one. First, she urged her young daughter to take piano lessons. After that, Russell took drama classes and appeared in school plays in high school, before going on to take acting lessons from acclaimed coaches. It sounds like the perfect path to Hollywood stardom, but through it all, Russell’s heart was elsewhere.
Russell actually dreamed of becoming a fashion designer rather than an actress, but her mother had different ideas. She pushed her daughter toward the dramatic arts— and then, tragedy struck . Russell’s father perished, leaving behind a wife and five children. As the oldest, Jane decided that she’d get a job as a receptionist to support her family.
Of course, that job ended up leading her back to the stage anyway, when Howard Hughes walked through the door of the doctor’s office where she worked and he “discovered” her. While Hughes didn’t get as creepy with her as he did other starlets, he was once quoted as saying: “There are two good reasons why men go to see [Russell], and those are enough.”
When Hughes laid eyes upon Russell’s soon-to-be-infamous figure, he saw dollar signs— and he acted on it in a truly bizarre way. While making The Outlaw , Hughes designed a now-infamous underwire bra just for Russell to further propel her cleavage onwards and upwards for the movie. However, Russell later revealed the truth about the whole thing.
In her autobiography, Russell said that she found Hughes’ baffling bra invention to be incredibly uncomfortable—so she devised a way to get around wearing it. Russell hid the invention and wore her own bra, adjusting the straps and padding it out with tissue to fool the notorious director. Hughes’ infamous invented bra now lives in a Hollywood museum.
Russell was no fool, and she knew that Hughes and the rest of Hollywood were trading in on her curvaceous figure. But she also had her limits and wasn’t shy about speaking up when things went too far. She said, “Sex appeal is good—but not in bad taste. Then it’s ugly. I don’t think a star has any business posing in a vulgar way.”
That’s not to say that Russell was judgmental of her co-stars and peers. She had worked with Marilyn Monroe on Gentlemen Prefer Blondes , and defended the star, saying that Monroe’s pin-up calendar had been “artistic,” which kept it from being vulgar.
Following the success of The Outlaw, Russell tried her hand at a musical career— but it didn’t exactly go as she planned. Columbia Records released her innuendo-laden album Let’s Put Out the Lights in 1947, but Russell later revealed that she hated the album, saying it was “horrible.” One song in the album’s reissue? The subtly-named “Boin-n-n-ng!”
Russell had spent years in Hollywood purgatory waiting for The Outlaw to be released, and over time, the endless delays took a major toll on her career. Finally, in 1948, Russell began to make something of a “comeback” when she was cast as Calamity Jane in The Paleface. Thankfully, the flick was a massive hit for Paramount that year—but for Russell, the best was yet to come.
Hughes hadn’t just forgotten about Russell after all the trouble he’d gone through with The Outlaw , and when he gained control over RKO Pictures in 1948, he immediately signed her to a long-term contract. They had a very fruitful working relationship, and she starred in a number of RKO films over the next few years of her career— however, there was a dark side to it all.
The type of films that Hughes cast Russell in focused only on her body, and she never really got a chance to show off her acting chops in those years. While many of the films were financial successes, they’re not exactly the type of stuff that critics still talk about today. As a result, many critics and fans have said that her talent was wasted during those years.
Eventually, Russell’s good looks were bound to land her a romance, and in 1943 she got one. That year, she got married to her high school sweetheart, Bob Waterfield, who was a quarterback for the UCLA Bruins at the time. Many expected the young couple to start a family, but sadly, Russell was hiding a dark secret .
When Russell was just 18 years old, she became pregnant with Waterfield’s child. Faced with a difficult choice at a young age, she ultimately chose to terminate the pregnancy. The procedure was difficult, and after experiencing severe complications, Russell went to see her family doctor for a check-up. His reaction was devastating.
According to Russell, when the doctor took a look at her that day, he asked her a terrifying question:“What butcher did this to you?” As it turned out, the botched procedure had left the young girl infertile. The aftermath of all this stayed with Russell for the rest of her life, and she became a vehement anti-choice activist.
The voluptuous Russell was a popular pin-up during the Korean War as well—so popular, that the forces there named a pair of embattled hills in her honor. On top of that, she is the namesake for the “Jane Russell Peaks” in Alaska.
During her contract with RKO Pictures, Russell was cast opposite Robert Mitchum and Vincent Price in His Kind of Woman . The looks, star power, and chemistry of the leads made it seem like the film would be a guaranteed blockbuster. At first, filming went off without a hitch—that is, until Howard Hughes stepped in…
While making His Kind of Woman , Mitchum came up with a cheeky nickname for Russell, calling her “Hard John” for her rigid Christian beliefs. Any other star might’ve taken offense, but Russell had a great sense of humor. When a reporter asked her about her reputation for being hard-nosed about her faith, she had a sassy retort: “Christians can have big breasts too.”
With filming on His Kind of Woman completed, the cast looked forward to moving on to the next film project, but there was a dark twist around the corner. The persnickety Hughes demanded an entire year’s worth of reshoots for the film, with the cast—now annoyed and fighting each other—even throwing an “anniversary party” for the shoots.
If Russell thought her ordeal was over after finally wrapping His Kind of Woman , she was sorely mistaken. Her next project was the Hughes-produced Macao , and this time she had to deal with temperamental Austrian director Josef von Sternberg, who quickly made enemies of most of the cast—but who had a special dislike for Russell.
While working on the film, von Sternberg sniped that Russell was a “beautiful stupid girl.” There were fights on set, and the director constantly threatened to fire his actors—but in the end, it was von Sternberg who got fired himself. Then, after all that, the film ended up as a financial flop. It was yet another setback for Russell, but her patience would soon pay off.
Gentlemen Prefer Blondes was just around the corner, and cemented Russell’s status as Hollywood royalty—In fact, Russell even got paid more than her co-star Marilyn Monroe. But despite this competition, Monroe spoke fondly of Russell in the final interview she gave before her tragic passing, saying that Russell was “quite wonderful to me.”
The success of Gentlemen Prefer Blondes wasn’t the only triumph for Russell that year. After her disastrous and lengthy contract with Howard Hughes through RKO Pictures, Russell was finally able to strike out on her own. Instead of signing with another studio, Russell and her husband Bob Waterfield began Russ-Field Productions.
Russell and Waterfield also had exciting success on the homefront. In the early 50s, the longtime couple adopted a baby girl. Soon after that, they added to their family by adopting a baby boy, and a few years later, another son. It should’ve been the happiest time of their lives, but instead, it stirred up a dark controversy that nearly ruined Russell’s life.
Russell was working on a play in London when, during an interview, she said that she wanted to adopt an Irish boy, due to her husband’s heritage. A young Irish mother named Hannah McDermott saw the interview. Reading it, she envisioned a better life for her infant son Thomas. She reached out to Russell and set the wheels in motion.
Russell and McDermott came to an agreement over little Thomas and soon after, Russell took him home and the Waterfields became a family of four. McDermott gave an interview to the Daily Mail about the adoption, which ran with the headline “My baby has gone to Fairyland.” When the paper came out , it caused an uproar. 
One British politician was so outraged that he called for baby Thomas’s return to the UK. Hannah McDermott, meanwhile, was charged with breaking adoption laws, and people angrily protested outside Russell’s home. Although Russell hired a lawyer for McDermott and got her free and clear, the damage was already done.
Russell had immediately connected to the young boy for a heartbreaking reason—he reminded her of her younger brother Billie, who had passed away at just 16 months old.
While Tommy went on to live “happily ever after” in Hollywood with Russell, things weren’t so easy for his birth mother. She perished young, at just 53— and the circumstances are chilling . She left a pub with a man, and the next day her remains were found in her burned out home. It was likely that the fire was set to cover her homicide, which remains unsolved.
Russell’s troubling experience with adoption turned her into an advocate, and in 1955 she founded an organization meant to facilitate foreign adoptions for US families, which at the time weren’t yet common. She called it the World Adopting International Fund—AKA “Waif.” Since its inception, the organization has helped over 50,000 children get adopted.
Despite the uproar in the UK, Russell’s career made a quick recovery stateside. She put in the work, and eventually, the critics came around to appreciating her not just for her body, but for her talent as well. However, disappointment was just around the corner. Russell counted the 1957 film The Fuzzy Pink Nightgown among her best work, but it was a flop.
Sadly, the failure of The Fuzzy Pink Nightgown went far beyond disappointing ticket sales. It also spelled the end of the production company that Russell began with her husband Bob Waterfield. For most of the next decade, she only occasionally appeared in films and mostly stuck to television and music, chalking it up to her “advanced” age—she was in her mid-30s.
After spending a quarter of a century together and adopting three kids, high school sweethearts Russell and Bob Waterfield seemed solid as a rock— but heartbreak was lurking in the shadows. In 1967, Russell filed for divorce—only for Waterfield to file a counter-suit, saying tha
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