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Esther Williams
Esther Williams
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Esther Jane Williams (August 8, 1921 – June 6, 2013) was an American competitive swimmer and actress. She set regional and national records in her late teens on the Los Angeles Athletic Club swim team. Unable to compete in the 1940 Summer Olympics because of the outbreak of World War II, she joined Billy Rose's Aquacade, where she took on the role vacated by Eleanor Holm after the show's move from New York City to San Francisco. While in the city, she spent five months swimming alongside Olympic gold-medal winner and Tarzan star Johnny Weissmuller.[1] Williams caught the attention of Metro-Goldwyn-Mayer scouts at the Aquacade. After appearing in several small roles, and alongside Mickey Rooney in an Andy Hardy film and future five-time co-star Van Johnson in A Guy Named Joe, Williams made a series of films in the 1940s and early 1950s known as "aquamusicals", which featured elaborate performances with synchronised swimming and diving.

Key Information

Every year from 1945 to 1949, Williams had at least one film among the 20 highest-grossing films of the year.[2][3][4][5][6] In 1952, Williams appeared in her only biographical role, as Australian swimming star Annette Kellerman in Million Dollar Mermaid, which went on to become her nickname while she was at MGM.[7] Williams left MGM in 1956 and appeared in a handful of unsuccessful feature films, followed by several extremely popular water-themed network television specials, including one from Cypress Gardens, Florida.

Williams was also a successful businesswoman. Before retiring from acting, she invested in a "service station, a metal products plant, a manufacturer of bathing suits, various properties and a successful restaurant chain known as Trails."[8] She lent her name to a line of swimming pools, retro swimwear, and instructional swimming videos for children, and served as a commentator for synchronized swimming at the 1984 Summer Olympics in Los Angeles.

Early years

[edit]

Esther Jane Williams was born on August 8, 1921, in Inglewood, California,[9][10] the fifth and youngest child of Louis Stanton Williams (January 19, 1886  – June 10, 1968) and Bula Myrtle (née Gilpin; October 8, 1885 – December 29, 1971).[citation needed]

The two lived on neighboring farms in Kansas and carried on a nine-year courtship until June 1, 1908, when they eloped and set off for California. However, they ran out of money in Salt Lake City, Utah, and settled there. Esther's brother, Stanton (September 4, 1912 – March 3, 1929) was discovered by actress Marjorie Rambeau, which led to the family (including sisters Maurine and June, and brother David) moving to the Los Angeles area to be near the studios. Louis Williams purchased a small piece of land in the southwest area of town and had a small house built there. Esther was born in the living room, which was also where the family slept until Louis Williams was able to add bedrooms. In 1929, Stanton Williams died after his colon burst. He was 16 years old.[11]

In 1935, Bula Williams invited 16-year-old Buddy McClure to live with her family. McClure had recently lost his mother and Bula was still grieving over the death of her son, Stanton. Esther recounted in her autobiography that one night, when the rest of the family was visiting relatives in Alhambra, McClure raped her. She was terrified to tell anyone about the incident and waited two years before finally revealing the truth to her parents. Bula seemed unsure about her story, claiming McClure was "sensitive" and felt sympathetic toward him when he admitted his guilt. However, she banished him from her home. McClure joined the United States Coast Guard, and Williams never saw him again.[12]

Career

[edit]

Competitive swimming

[edit]
Williams (in swimsuit) at the Los Angeles Athletic Club in 1939

Williams was enthusiastic about swimming in her youth. Her older sister, Maurine, took her to Manhattan Beach and to the local pool. She took a job counting towels at the pool to pay the five-cent entry fee, and while there, had swimming lessons from the male lifeguards. From them, she learned the "male only" swimming strokes, including the butterfly, with which she would later break records.[13]

Her medley team set the record for the 300-yard relay at the Los Angeles Athletic Club in 1939,[14] and was also national AAU champion in the 100 meter freestyle, with a record-breaking time of 1 minute 9.0 seconds.[15] By age 16, Williams had won three US national championships in breaststroke and freestyle swimming.[16]

Williams graduated from Washington High School (now known as Washington Preparatory High School) in Los Angeles in 1939, where she served as class vice president, and later president.[17][18][19] However, Williams never trained in swimming while there.[20]

During her senior year of high school, Williams received a D in her algebra course, preventing her from getting a scholarship to the University of Southern California.[21] She enrolled in Los Angeles City College to retake the course. In 1939, Williams expressed interest in pursuing a degree in physical education in order to teach it one day.[20] To earn money for tuition, Williams worked as a stock girl at the I. Magnin department store, where she also modeled clothing for customers and appeared in newspaper advertisements.[22]

While Williams was working at I. Magnin, she was contacted by Billy Rose's assistant and asked to audition as a replacement for Eleanor Holm in his Aquacade show. Williams impressed Rose and she got the role.[1][23] The Aquacade was part of the Golden Gate International Exposition, and Williams was partnered with Olympic swimmer and Tarzan star Johnny Weissmuller,[24] who, Williams wrote in her autobiography, repeatedly tried to seduce her. Despite this, Williams remained with the show until it closed on September 29, 1940.[25] Williams had planned to compete in the 1940 Summer Olympics, which were cancelled due to the outbreak of World War II. Sometime in the mid to late 1950s, NBC built a large studio with a huge swimming pool on Avenue M between E 14th and E 15th St. in Brooklyn, New York.[citation needed] The intent was, according to local rumors, that Esther Williams was going to have a show from the studio. It never occurred. The building remained empty until 1959/1960, when the “Steve Allen Show” was brought to the studios and televised live on Sunday evenings.[citation needed]

Acting

[edit]

It was at Aquacade that Williams first attracted attention from Metro-Goldwyn-Mayer scouts. MGM's head, Louis B. Mayer, had been looking for a female sports star for the studio to compete with Fox's figure skating star, Sonja Henie.[26] Williams signed her contract with MGM in 1941.[27]

In her contract were two clauses: the first being that she receive a guest pass to The Beverly Hills Hotel where she could swim in the pool every day, and the second that she would not appear on camera for nine months to allow for acting, singing, dancing, and diction lessons. Williams wrote in her autobiography, "If it took nine months for a baby to be born, I figured my 'birth' from Esther Williams the swimmer to Esther Williams the movie actress would not be much different."[28]

A pin-up of Williams from a 1945 issue of Yank, the Army Weekly
Esther Williams in Thrill of a Romance (1945)

While top stars at the studios such as Judy Garland, Betty Grable, and Shirley Temple took part in bond tours during the war, Williams was asked to take in hospital tours. At this point, Williams had achieved pin-up status because of the number of photographs of her in bathing suits.[29] To prepare, Williams and her publicity assistant would listen to Bob Hope and Jack Benny's radio programs, retelling the funniest jokes while at the hospitals. Williams also invited GIs to dance with her on stage and take part in mock screen tests. The men would receive a card telling them their lines, and they would act out the scene in front of the other soldiers. These tests were always romantic scenes to which the men were required to refuse multiple times. When the men said the final, "No", Williams would pull at her tear-away skirt and sweater leaving nothing but a gold lamé swimsuit. The scenes would always end with the men giving in and kissing her after that stunt.[30] Her hospital tours continued into the 1950s.[31][32] A (forged) signed, waterproof portrait of Williams was circulated among men in the United States Navy for a "capture the Esther" competition.[17] This competition continues to this day in the Royal Australian Navy, which holds in its archives an "original" forged signed portrait while maintaining a "capturable" image for use in the fleet.[citation needed]

1940s

[edit]

Three weeks after Williams signed her contract, George Sidney directed her first screen test. According to Williams's autobiography, the studio used this test to get Lana Turner back in line with the terms of her contract and as punishment for Turner's having eloped with Artie Shaw. Williams screen tested with the leading man, Clark Gable, for the film Somewhere I'll Find You.[33] However, when Turner divorced Shaw after four months of marriage, she rejoined the film.[34] Following several short subject films, Williams appeared as Sheila Brooks in Andy Hardy's Double Life. Sheila was a student with whom Andy falls in love.[35][36] Next was a small part in the film A Guy Named Joe, starring Spencer Tracy and Irene Dunne. It was here she first worked with Van Johnson, with whom she would partner in five films.[37]

Bathing Beauty, previously titled Mr. Coed, starred Red Skelton as a man who enrolls in a women's college to win back his swimming instructor fiancée, played by Williams. This was her first Technicolor musical. The studio changed the title of the film to showcase Williams. Almost all of the film's posters featured Williams in a bathing suit, though the swimming sequences make up a small portion of the film. Her date to the premiere at the Astor Theater in New York City was future husband Ben Gage. For the event, MGM publicity set up a six-story-tall billboard of Williams diving into Times Square with a large sign that said "Come on in! The story's fine!"[38]

Williams, Van Johnson and Carleton G. Young in Thrill of a Romance (1945)

Williams appeared in the film Ziegfeld Follies as herself.[39] This was followed by the musical Thrill of a Romance. Van Johnson co-starred as a decorated war veteran who falls in love with Williams while on her honeymoon. Thrill of a Romance was the 8th highest-grossing film of 1945.[2] The studio's publicity department tried to put the two together in public as much as possible in the hopes of encouraging a romance, even though Williams was involved with Gage at the time. When asked why they did not date, Johnson replied, "because I'm afraid she can't get her webbed feet into a pair of evening sandals."[40]

Williams tried a more serious role in The Hoodlum Saint (1946), with William Powell and Angela Lansbury. Audiences expected Powell's Nick Charles persona and rejected the idea of a romance between Williams and Powell onscreen due to their age difference.[41] She also appeared in Easy to Wed, a remake of 1936's Libeled Lady, with Johnson and Lucille Ball.[42] It was the first singing part in a film for Williams, who had Harriet Lee as her singing teacher.[43]

Williams as Maria in Fiesta (1947)

Fiesta (originally called Fiesta Brava)[44] starred Williams as Ricardo Montalbán's twin sister, Maria, who pretends to be her bullfighting brother in hopes of luring him back home. Audiences, and Williams, thought the film was silly, as Williams and Montalbán had vastly different accents. Montalbán was born in Mexico and was a native Spanish speaker while Williams had a mid-western accent picked up from her Kansas-born parents. Production was difficult with a multitude of problems. By 1947, Gage and Williams were married. Gage had traveled to Mexico for the making of the film. He got into a fight with an employee of the cast's hotel, was arrested, and subsequently thrown out of the country.[45] The director of photography, Sidney Wagner, and one other crew member died of cholera from eating contaminated street food. Many of the film's stuntmen were sent to the hospital after being gored by bulls. Director Dick Thorpe had not wanted the bulls killed (as they usually were at the end of a bullfight) because he believed them to be too expensive to replace.[46]

After filming was completed on Fiesta, Williams appeared in the romance This Time for Keeps (1947) with singer Johnnie Johnston. In 1948, Williams signed a contract with swimwear company Cole of California to appear as their spokesperson, and Williams and the other swimmers in her films wore Cole swimsuits. Since the aqua-musicals were an entirely new genre, the studio's costume designers had little experience creating practical swimsuits.[47] William's plaid flannel swimsuit for This Time for Keeps was so heavy that she was dragged to the bottom of the pool, and had to unzip the suit, swimming naked to the edge of the pool to avoid drowning. Cole swimsuits used latex, which meant zippers were no longer necessary. While filming Skirts Ahoy! (1952), Williams discovered that members of the WAVES program received thin, cotton, shapeless swimsuits as part of their uniforms. Williams modeled a Cole swimsuit for the Secretary of the Navy and explained that the new swimsuits helped support women's figures. The United States Navy ordered 50,000 suits immediately.[48]

Filming Take Me Out to the Ball Game (1949) was, according to Williams in her autobiography, an experience of "pure misery." A period musical starring Gene Kelly and Frank Sinatra, the two male leads' characters were players in a baseball team owned by K.C. Higgins, Williams's role. She claimed that Kelly and co-writer Stanley Donen treated her with contempt and went out of their way to make jokes at her expense. The film was well-received critically and became a major commercial success, raking in $3.4 million in rentals and becoming the 11th highest-earning film of the year.[6] Williams made Neptune's Daughter (also 1949) around the same time with co-stars Ricardo Montalbán, Red Skelton and Betty Garrett, who had also been in Take Me Out to the Ball Game.[49] In the film, Williams sings "Baby, It's Cold Outside" with Montalbán. The song won the Academy Award for Best Original Song at the 22nd Academy Awards. Williams and Montalbán were originally slated to sing "(I'd Like to Get You on a) Slow Boat to China", but studio censors thought the song was too sexual (interpreting the word "get" as "have") and instead gave them "Baby, It's Cold Outside."[50] Neptune's Daughter became the 10th highest-grossing film of 1949.[6]

1950s

[edit]
Williams as Annette Kellermann in Million Dollar Mermaid (1952)

Williams made Duchess of Idaho (1950), shot on location in Sun Valley, Idaho, co-starring Van Johnson and John Lund.[51] MGM paired her with Howard Keel for three films, Pagan Love Song (also 1950), Texas Carnival (1951) and later Jupiter's Darling (1955). They both had cameos in the film Callaway Went Thataway (1951).[52]

In Million Dollar Mermaid (1952), Williams portrayed Annette Kellermann, a real-life Australian swimming and diving star. Williams co-starred with Victor Mature, who played Kellermann's husband and manager, James Sullivan. The two engaged in a passionate affair during filming. Williams often called this her favorite film and named her autobiography after it.[53] Williams also won the Henrietta Award at the 1952 Golden Globes, for World Film Favorite – Female.[54] Easy to Love (1953), also with Van Johnson, was filmed on location in Cypress Gardens, Florida, where a swimming pool in the shape of the state had been built specifically for the film. Williams was pregnant during shooting, but still performed all her own waterskiing stunts.[55]

In Dangerous When Wet (also 1953), Williams worked with three important male co-stars – Tom and Jerry and her future husband Fernando Lamas. During casting, Lamas told Williams he did not want to star in the film with her because he only wanted to be involved in "important pictures". His part had to be rewritten to persuade him to take part in the film. [citation needed]

In 1953, Williams had been on maternity leave for three months while pregnant with her daughter Susan, and assumed she would go straight to work on the film Athena when she returned.[56] However, production started without her, and the studio cast Jane Powell in the lead role,[57] rewriting much of the premise that Williams and writers Leo Pogostin and Chuck Walters had come up with. The studio moved her to Jupiter's Darling. Two more films were planned, Bermuda Encounter and Olympic Venus, about the first Olympic swimmers; however, these were never made.[58][59][60]

Many of her MGM films, such as Million Dollar Mermaid and Jupiter's Darling, contained elaborately staged synchronized swimming scenes, with considerable risk to Williams. She broke her neck filming a 115 ft dive off a tower during a climactic musical number for the film Million Dollar Mermaid and was in a body cast for seven months. She subsequently recovered, although she continued to suffer headaches as a result of the accident. Her many hours spent submerged in a studio tank resulted in ruptured eardrums numerous times. She also nearly drowned after not being able to find the trapdoor in the ceiling of a tank. The walls and ceiling were painted black and the trapdoor blended in. Williams was pulled out only because a member of the crew realized the door was not opening.

After MGM

[edit]

After 15 years of appearing in films, Williams was threatened with contract suspension from MGM after refusing the lead role in The Opposite Sex (eventually released in 1956), a musical remake of 1939's The Women. The role of Mary would have been rewritten to be an aquacade star (and was eventually filled by June Allyson as "Kay", a nightclub singer). Williams redecorated her dressing room to accommodate returning star Grace Kelly, packed her terry cloth robes and swimsuits and drove off the studio lot. As a result of leaving her contract, Williams lost almost $3 million in deferred contract payments, which had been taken from her paychecks over the previous 14 years and put aside as both a nest egg and a tax deferral. She was, however, still able to collect on the $50,000 signing bonus from when she first signed her contract.[61]

In 1956, she moved to Universal International and appeared in a non-musical dramatic film, The Unguarded Moment (1956). After that, her film career slowly wound down. She later admitted that husband Fernando Lamas preferred her not to continue in films. She would, however, make occasional appearances on television, including mystery guest appearances for What's My Line?, The Donna Reed Show, The Ed Sullivan Show, and two aqua-specials, The Esther Williams Aqua Spectacle held in London at The Empire Pool Wembley in 1956 and Esther Williams at Cypress Gardens which was telecast on August 8, 1960.[62] More than half of all television sets in use in the United States were tuned in to watch the Cypress Gardens special.[63] In 1966, Williams was inducted into the International Swimming Hall of Fame.[16]

Later years

[edit]

Williams retired from acting in the early 1960s and later turned down the role of Belle Rosen, a character with a crucial swimming scene, in The Poseidon Adventure.[why?] (The role eventually went to Shelley Winters.)

She continued to lend her name to a line of retro women's swimwear. Williams said, "Women worldwide are fighting a thing called gravity ... I say to women when I talk to them, 'You girls of 18 have until about 25, 30 at the most, and then you have to report to me. My suits are quality fabric.'"[50] She went on: "I put you in a suit that contains you and you will swim in. I don't want you to be in two Dixie cups and a fish line."[64]

She was also the namesake of a company that manufactures swimming pools and swimming pool accessories. She came out with a line of Swim, Baby, Swim videos, which helped parents teach their children how to swim. She also appeared as a commentator for synchronized swimming at the 1984 Summer Olympics.[65] Williams met her fourth husband as a result of his calling her to coordinate her appearance.[50] She co-wrote her autobiography, The Million Dollar Mermaid (New York: Simon & Schuster, 1999), with popular media critic and author Digby Diehl.[53] In 1994 she made her first new big-screen appearance in 31 years as one of the hosts of the retrospective That's Entertainment! III.

In a 2007 interview with Diane Sawyer, Williams admitted that she had recently suffered a stroke. "I opened my eyes and I could see, but I couldn't remember anything from the past", she said.[66] In June 2008, Williams was able to attend Cyd Charisse's funeral, albeit in a wheelchair.[67]

In April 2010, Williams appeared at the first Turner Classic Movies Classic Film Festival in Hollywood, California, alongside two-time co-star Betty Garrett.[68] Their film, Neptune's Daughter (1949), was screened at the pool of the Roosevelt Hotel, along with a performance of the Williams-inspired synchronized swimming troupe, The Waterlilies.[69][70] South Beach Miami's 2010 Mercedes Benz Fashion Week Swim, a showcase of designer swimwear, included a Williams suit, complete with a beach summer theme and sand palette with aqua accents.[71]

In 2000, an account of Williams's life and career appeared in the Swedish book Esther Williams — Skenbiografin (Esther Williams: The Fake Biography) written by Jane Magnusson,[72] in which the author shares with readers her own fascination for art swimming as a genre and, here, in particular, Williams as—to the author—both a bewildering and mesmerizing front figure and icon in this field.[73]

Personal life

[edit]

Political views

[edit]

Williams was a registered Republican.[74]

Marriages

[edit]

Williams married four times. She met her first husband, Leonard Kovner, while attending Los Angeles City College. She later wrote in her autobiography The Million Dollar Mermaid that "he was smart, handsome, dependable ... and dull. I respected his intelligence, and his dedication to a future career in medicine. He loved me, or so he said, and even asked me to marry him." They were married in the San Francisco suburb of Los Altos on June 27, 1940.[75][76][77] On their split she said "I found, much to my relief, that all I needed for my emotional and personal security was my own resolve and determination. I didn't need a marriage and a ring. I had come to realize all too quickly that Leonard Kovner was not a man I could ever really love."[78] They divorced on September 12, 1944.[77][79]

1945 wedding photo of Williams and her second husband, Ben Gage

She married singer/actor Ben Gage on November 25, 1945;[80][81] they had three children, Benjamin Stanton (born August 6, 1949),[45][82] Kimball Austin (October 30, 1950 – May 6, 2008)[83] and Susan Tenney (born October 1, 1953).[84] In her autobiography, she portrayed Gage as an alcoholic parasite who squandered $10 million of her earnings. Gage and Williams separated in 1952,[85] and divorced in April 1959.[86]

During the filming of Pagan Love Song in Hawaii, Williams learned she was pregnant with her third child, and notified the studio in California. Gage had met a man at the hotel who owned a ham radio and persuaded the man to let them use it to call California. What they failed to realize at the time, though, was that anyone could be listening in on their conversation, and news of her pregnancy was broadcast to the entire West Coast.[87]

She disclosed in her autobiography that she had an affair with actor Victor Mature while they were working on Million Dollar Mermaid, citing that at the time her marriage was in trouble and, feeling lonely, she turned to Mature for love and affection, and he gave her all she wanted. The affair stopped while Williams was recovering from her fall during the shooting of Million Dollar Mermaid. She was romantically linked with Jeff Chandler. She claims in her autobiography that Chandler was a cross-dresser and that she broke off the relationship.[88] According to the Los Angeles Times, many friends and colleagues of Chandler's rebutted Williams' claims. Jane Russell commented, "I've never heard of such a thing. Cross-dressing is the last thing I would expect of Jeff. He was a sweet guy, definitely all man."[89]

She married her former lover, Argentine actor/director, Fernando Lamas on December 31, 1969. She later claimed that for 13 years she lived in total submission to him. She had to stop being "Esther Williams" and could not have her children live with her. In return, he would be faithful.[50][90] Nonetheless, they remained married until Lamas's death from pancreatic cancer on October 8, 1982.[91]

She resided in Beverly Hills with actor husband Edward Bell, whom she married on October 24, 1994.[92]

LSD

[edit]

In September 1959, Cary Grant told Look magazine that he had taken LSD under a doctor's supervision, and it had changed his life. Grant's therapist, Mortimer Hartman, described LSD as "a psychic energizer which empties the subconscious and intensifies emotion and memory a hundred times". Grant said that, with the help of LSD, he had "found that [he] had a tough inner core of strength", and that when he was young, he "was very dependent upon older men and women. Now, people [came] to [him] for help." Williams stated that she wanted to be one of those people. As she said in Million Dollar Mermaid, "At that point, I really didn't know who I was. Was I that glamorous femme fatale? ... Was I just another broken-down divorcée whose husband left her with all the bills and three kids?" Shortly after reading the article, she contacted Grant. He called his doctor and made an appointment for her. Williams said LSD seemed like instant psychoanalysis.[93][94]

Death and legacy

[edit]

Esther Williams died in her sleep on June 6, 2013, from natural causes, in her Los Angeles home. She was 91.[95] She was cremated, and her ashes were scattered in the Pacific Ocean.[citation needed]

On her death, CNN quoted[96] her International Swimming Hall of Fame biography, saying, "Her movie career played a major role in the promotion of swimming, making it attractive to the public, contributing to the growth of the sport as a public recreation for health, exercise, water safety – and just plain fun."[15] Her stepson Lorenzo Lamas tweeted she was "The best swim teacher and soul mom."[97] Actress Annabeth Gish tweeted a tribute, writing that Esther Williams was an "elegant, gracious movie star, legend and neighbor".[98] Film historian Leonard Maltin called her "a major, major star, a tremendous box office attraction."[99]

For her contribution to the motion-picture industry, Williams has a star on the Hollywood Walk of Fame at 1560 Vine Street. She left her hand and footprints in front of the Grauman's Chinese Theatre on August 1, 1944.

Williams was mentioned in the "Court Charades" sketch in the 1970 Monty Python's Flying Circus episode "The Spanish Inquisition" where Eric Idle mentions her to which Graham Chapman responds "How can you find the defendant 'Not Esther Williams'?"

Scarlett Johansson's character DeeAnna Moran in the 2016 Coen Brothers film Hail, Caesar! shares several similarities with Williams, most notably being an aquamusical star who becomes pregnant during production.

Archive

[edit]

Esther Williams donated her personal film archive, including twenty home movies, to the Academy Film Archive.[100] The Academy Film Archive has subsequently preserved several of these home movies.[101]

Filmography

[edit]
Film[102]
Year Title Role Notes
1942 Andy Hardy's Double Life Sheila Brooks
Personalities Sheila Brooks (Screen test footage) Short subject
Inflation Mrs. Smith Short film
1943 A Guy Named Joe Ellen Bright
1944 Bathing Beauty Caroline Brooks
1945 Thrill of a Romance Cynthia Glenn
Ziegfeld Follies Herself ('A Water Ballet')
1946 The Hoodlum Saint Kay Lorrison
Easy to Wed Connie Allenbury Chandler
Till the Clouds Roll By Herself Uncredited
1947 Fiesta Maria Morales
This Time for Keeps Leonora 'Nora' Cambaretti
1948 On an Island with You Rosalind Reynolds
1949 Take Me Out to the Ball Game K.C. Higgins
Neptune's Daughter Eve Barrett
1950 Duchess of Idaho Christine Riverton Duncan
Pagan Love Song Mimi Bennett
1951 Texas Carnival Debbie Telford
Callaway Went Thataway Herself Uncredited
1952 Skirts Ahoy! Whitney Young
Million Dollar Mermaid Annette Kellerman
1953 Dangerous When Wet Katie Higgins
Easy to Love Julie Hallerton
1954 Athena
Screenwriter
Uncredited
1955 Jupiter's Darling Amytis
1955 Motion Picture Theatre Celebration Herself Short subject
1956 The Unguarded Moment Lois Conway
Screen Snapshots: Hollywood, City of Stars[citation needed] Herself Short subject
1958 Raw Wind in Eden Laura
1961 The Big Show Hillary Allen
1963 Magic Fountain[103] Hyacinth Tower
1994 That's Entertainment! III Herself
Television
Year Title Role Notes
1955 What's My Line[104] Guest Celebrity Episode: "16 January 1955"
1957 Lux Video Theatre[105] Vicki Episode: "The Armed Venus"
1960 The Donna Reed Show[106] Molly Episode: "The Career Woman"
1960 Dick Powell's Zane Grey Theatre[107] Sarah Harmon Episode: "The Black Wagon"
1961 The Bob Hope Show[108] Episode: "The Bob Hope Buick Sports Awards Show"

Box office rankings

[edit]

For a number of years, US movie exhibitors voted Esther Williams among the most popular film stars in the country:

  • 1947 – 24th most popular star[109]
  • 1948 – 11th[110]
  • 1949 – 8th[111]
  • 1950 – 8th[112] – also 2nd most popular star in the UK[113]
  • 1951 – 5th most popular female star[114]
  • 1952 – 12th[115]
  • 1953 – 12th
  • 1954 – 25th[116]

With the exception of The Hoodlum Saint and Jupiter's Darling, no film in which Williams starred for MGM lost money and some were extremely profitable.[117]

See also

[edit]

Citations

[edit]
  1. ^ a b "Esther Williams Queen of Aquacade". Los Angeles Times. May 13, 1940. p. A12.
  2. ^ a b "Box Office Report for 1945". BoxOfficeReport.com. Archived from the original on July 13, 2009. Retrieved July 30, 2010. Thrill of a Romance
  3. ^ "Box Office Report for 1946". BoxOfficeReport.com. Archived from the original on June 24, 2006. Retrieved July 30, 2010. Till the Clouds Roll By and Easy to Wed
  4. ^ "Box Office Report for 1947". BoxOfficeReport.com. Archived from the original on August 7, 2008. Retrieved July 30, 2010. This Time for Keeps and Fiesta
  5. ^ "Box Office Report for 1948". BoxOfficeReport.com. Archived from the original on October 12, 2008. Retrieved July 30, 2010. On an Island with You
  6. ^ a b c "Box Office Report for 1949". BoxOfficeReport.com. Archived from the original on January 9, 2011. Retrieved July 30, 2010. Neptune's Daughter and Take Me out to the Ball Game
  7. ^ Williams 1999, p. 285.
  8. ^ "Esther Williams". The Telegraph. June 6, 2013. Archived from the original on January 12, 2022. Retrieved May 10, 2014.
  9. ^ "Actress Esther Williams Hospitalized". ABClocal.go.com. Associated Press. October 25, 2006. Archived from the original on June 29, 2011. Retrieved July 30, 2010. While some references cited 1922 as her year of birth, Williams told The Associated Press in 2004 that she was born August 8, 1921.
  10. ^ According to the California Birth Index, 1905–1995 located at the Center for Health Statistics, Department of Health Services, Sacramento, California.
  11. ^ Williams 1999, p. 22.
  12. ^ Williams 1999, pp. 24–28.
  13. ^ "Swim Mark Shattered". Los Angeles Times. May 27, 1939. p. 8, Pt. I.
  14. ^ "L.A.A.C. Mermaids Set New Medley Relay Record". Los Angeles Times. March 31, 1939. p. 8. ProQuest 164991330.
  15. ^ a b "1966 Honorees – Esther Williams". ISHOF.org. International Swimming Hall of Fame. Archived from the original on June 9, 2013.
  16. ^ a b Sherrow 1996, p. 333.
  17. ^ a b Williams 1999, p. 160.
  18. ^ "Photograph of Esther Williams's High School Yearbook". Archived from the original on July 7, 2011. Retrieved July 29, 2010.
  19. ^ "A Stroke for Esther". Los Angeles Times. September 25, 1977. p. U2. ProQuest 158249098.
  20. ^ a b "Mercury Miss Olympic 'Hope'". Los Angeles Times. April 5, 1939. p. A13. ProQuest 164963241.
  21. ^ "Esther Williams Back at Poolside". Los Angeles Times. May 27, 1984. p. G1. ProQuest 153858190. Williams stated in her autobiography that her family could not afford to send her to USC, and that she did not get a scholarship to the school. In a 1984 interview with The Los Angeles Times, it reports she spent a year there.
  22. ^ Williams 1999, p. 39.
  23. ^ Williams 1999, p. 41.
  24. ^ "Weissmuller Lands Lead in Aquacade". Los Angeles Times. May 22, 1940. p. 21. ProQuest 165037287.
  25. ^ Williams 1999, p. 56.
  26. ^ Williams 1999, p. 57.
  27. ^ Wayne 2003, p. 380.
  28. ^ Williams 1999, p. 73.
  29. ^ Williams 1999, p. 101.
  30. ^ Wayne 2003, p. 103.
  31. ^ Williams 1999, p. 102.
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  84. ^ "Important Event". Los Angeles Times. March 15, 1954. p. A1. Williams holds daughter, Susan, 5 months, at baptism rites for her three children. Sons Kimmie and Benjie stand in front. Helping hold Susan is Gov. Kohler of Wisconsin. At left is Esther's husband, Ben Gage.
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General references

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from Grokipedia
Esther Williams (August 8, 1921 – June 6, 2013) was an American competitive and actress best known for starring in a series of (MGM) aquatic musicals during the 1940s and 1950s, which showcased her swimming prowess in elaborate water ballets. Born in , as the youngest of five children to a sign painter father and a mother who worked as a teacher and , Williams learned to swim at age 8 following the death of her older brother Stanton from a burst appendix. She rose to prominence as a teenage swimming champion, winning three U.S. national titles in 1939 and earning a spot on the 1940 U.S. Olympic team, which was ultimately canceled due to . Williams transitioned to entertainment by performing in Billy Rose's Aquacade in alongside Olympic swimmer , where her athleticism and beauty caught the eye of Hollywood scouts. Signed by in 1941, she debuted in Andy Hardy's Double Life (1942) but gained stardom with (1944), the first of over a dozen films that featured synchronized swimming routines, including hits like Neptune's Daughter (1949), (1952)—a biopic of swimmer —and (1955). During her peak, she was a top-10 box-office draw for two years and reportedly swam more than 1,000 miles in productions, enduring injuries such as three broken neck vertebrae from a diving accident. Her films popularized aquatic entertainment and influenced the development of as a competitive . In her later years, Williams retired from acting in 1956 and married four times, including her marriage to actor from 1969 until his death in 1982; she was survived by her fourth husband, Edward Bell, two children, two stepchildren, and several grandchildren. She ventured into business, promoting her own lines of swimsuits and above-ground pools, and detailed her life in the 1999 autobiography The Million Dollar Mermaid. Williams died of natural causes at her home in , at age 91.

Early Life

Family and Childhood

Esther Jane Williams was born on August 8, 1921, in , as the fifth and youngest child of Louis Stanton Williams and Bula Myrtle Gilpin Williams. Her father, Louis, worked as a sign painter, creating lobby displays for theaters in the burgeoning Hollywood industry, which provided the family with occasional glimpses into the film world. Bula, initially a schoolteacher, later pursued a career in . The Williams family faced profound tragedy when Esther's older brother, Stanton, a child actor who had prompted the family's move from Utah to Los Angeles for his career opportunities, died suddenly at age 16 in 1929 from a burst colon due to intestinal blockage. Esther, then just 7 years old, later recalled the devastating impact on the household, noting how the loss deepened her sense of responsibility toward her parents and siblings while fostering a family-wide emphasis on perseverance. Growing up in a working-class neighborhood in southwest amid the , the Williamses navigated financial hardships, relying on Louis's modest earnings and Bula's resourcefulness to make ends meet. The proximity to Hollywood studios offered indirect exposure through Stanton's early film roles and Louis's theater work, though the family's daily life centered on community pools and local beaches rather than glamour. From a young age, Esther exhibited tomboyish and athletic tendencies, preferring outdoor activities and roughhousing with siblings over traditional girlish pursuits, traits that her family encouraged as signs of vitality. These interests, combined with playful exposure to water in neighborhood pools, laid a subtle groundwork for her later pursuits without formal structure at the time.

Introduction to Swimming

Following her brother's death, at her mother's urging, Esther Williams received her first at the age of eight in an Inglewood playground pool, where she earned her swimming time by counting towels for the lifeguards (one hour per 100 towels). There, the lifeguards taught her basic strokes, including the , a technique typically reserved for male swimmers at the time, fostering her early passion for the water. This introduction ignited a lifelong affinity for , as she spent much of her childhood immersed in the activity. Growing up in California, Williams was influenced by the state's vibrant beach culture and surfing scene, where she engaged in informal swimming sessions with her siblings along local shores. These experiences, combined with access to public pools, honed her natural affinity for aquatic environments without formal structure. Her mother's background provided subtle encouragement for pursuing athletic interests. Williams graduated from Washington High School in the class of 1939. At age 15, she impressed coaches by winning a municipal swimming championship, leading to an invitation to join the prestigious swim team under coach Aileen Allen. This early recognition marked the transition from recreational to more structured involvement, bridging her childhood pursuits toward professional opportunities.

Swimming Career

Competitive Achievements

At the age of 16 in 1937, Esther Williams joined the prestigious (LAAC) swim team in , , where she honed her skills under experienced coaches including former Olympian Aileen Allen. This marked the beginning of her rapid ascent in competitive , as she transitioned from local high school competitions to elite national-level events. Williams quickly established herself as a top amateur athlete, earning multiple (AAU) national championships in freestyle and events between 1937 and 1940. In 1939 alone, representing the LAAC, she captured the U.S. national title in the 100-meter freestyle at the AAU Outdoor Championships in , while also contributing to three winning relay teams that set national records, including the 300-yard medley relay. She further demonstrated her versatility by setting a U.S. record in the 100-meter that year and participating in record-breaking performances in relay events, such as the 880-yard relay at the Senior National Championships in . Additional victories included national titles at AAU meets in in 1938 and in 1940, solidifying her status as one of America's premier female swimmers. Her competitive prowess peaked in 1939–1940, when she qualified for three events on the U.S. Olympic team for the scheduled Summer Games in . However, the 1940 Olympics were canceled due to the outbreak of , denying Williams the international stage she had earned through her dominance in domestic competitions. Williams' training regimen during this period was intense, involving extensive daily distance —often several miles—to build the endurance that would later define her career, complemented by strength exercises to enhance her powerful stroke technique. These achievements not only highlighted her as an elite athlete but also garnered national recognition before her transition to professional entertainment.

Billy Rose's Aquacade

In 1940, following the cancellation of the Summer Olympics due to , Esther Williams transitioned from competitive swimming to professional performance when she was scouted for Billy Rose's Aquacade at the in . While working as a sales clerk at the department store to support herself, Williams auditioned at the urging of Rose's assistant to replace , the show's original female lead who had departed. Her prior competitive successes, including multiple national AAU titles in freestyle and events, positioned her as an ideal candidate for the role in this theatrical water revue. As the new lead swimmer, Williams performed alongside Olympic champion and actor , captivating audiences with twice-daily shows six days a week in the Aquacade's 275-foot-long pool. The production drew over 10,000 spectators per performance, establishing it as the fair's most popular attraction and earning Williams a substantial salary of $500 per week—a significant increase from her previous $25 weekly wage at the store. Williams' routines featured elaborate synchronized swimming ballets and high dives, seamlessly integrating athletic prowess with dramatic staging enhanced by colorful lighting, live orchestras, and choreographed ensemble numbers that evoked historical and mythical themes. These performances transformed the massive aquatic venue into a spectacle of music, , and water artistry, highlighting her grace and endurance in front of massive crowds. The Aquacade stint propelled Williams to national prominence over its five-month run, which concluded with the exposition's closure in October 1940 amid the ongoing global conflict. Her visibility in the show directly caught the eye of MGM talent scouts, paving the way for her entry into Hollywood and marking the end of her professional swimming phase.

Acting Career

MGM Contract and Debut

Williams' rising fame from her performances in Billy Rose's Aquacade during its San Francisco engagement at the 1940 Golden Gate International Exposition caught the attention of MGM executives, who saw potential in her athletic prowess and photogenic appeal. In 1941, after a screen test opposite Clark Gable, she was signed to a contract by studio head Louis B. Mayer, who aimed to create a rival to 20th Century Fox's ice-skating star Sonja Henie with a swimming-themed counterpart. Despite having no prior acting experience, Williams negotiated terms that included a period of intensive training to prepare her for Hollywood. Under the studio's guidance, Williams underwent several months of lessons in acting, diction, singing, and dance at what was informally known as MGM University, allowing her to refine her skills before appearing on camera. This preparation emphasized her natural swimming background during screen tests, positioning her as a versatile performer capable of blending physicality with on-screen charm. The studio also invested in infrastructure, constructing a state-of-the-art $250,000 pool on Soundstage 30 equipped with underwater glass panels and hydraulic lifts to facilitate her future aquatic scenes. Her film debut came in a minor role in Andy Hardy's Double Life (1942), where she portrayed a swimmer and shared her first on-screen kiss with , marking her introduction to audiences as an athletic ingenue. She followed this with a supporting part as a USO hostess named Ellen Bright in the fantasy drama (1943), co-starring and focusing on her dramatic abilities rather than . These early non-aquatic roles highlighted her transition from stage performer to actress. Williams faced initial challenges including fears of typecasting solely as a swimmer, which she sought to counter through these dramatic appearances, though the studio's publicity efforts groomed her into the quintessential "" image—wholesome, approachable, and all-American. This persona was reinforced through pin-up photos and promotional materials emphasizing her fresh-faced beauty and athletic grace, helping to establish her as a bankable star amid the competitive contract player system at .

Aquamusical Films

Esther Williams defined the aquamusical genre at (MGM), a unique blend of swimming spectacles, musical numbers, and romantic plots that showcased her athletic prowess in elaborate water-based performances. These films, often featuring routines integrated into the narrative, capitalized on Williams' background as a competitive swimmer to create visually stunning sequences that became a hallmark of 1940s and 1950s Hollywood escapism. She starred in twelve such productions between 1944 and 1955, with (1944) establishing the formula by combining aquatic displays with lighthearted romance and song. Production of these aquamusicals involved innovative techniques tailored to Williams' water-centric roles, including custom-built pools on MGM soundstages to simulate diverse aquatic environments under controlled conditions. A notable example was the 90-foot-square, 25-foot-deep pool constructed on Stage 30, equipped with hydraulic lifts for dynamic camera movements, hidden air hoses to support swimmers, and specialized underwater cameras to capture seamless sequences. Choreography was masterminded by , whose visionary direction coordinated large teams of over 50 synchronized swimmers in formations that blended dance-like precision with aquatic feats, often filmed in single, unbroken takes to heighten the spectacle. Signature elements of the aquamusicals included Williams' elaborate, form-fitting costumes designed for both and functionality in , daring dives from 50-foot towers that emphasized her physical grace, and the seamless weaving of plot-driven romance with grand-scale aquatic ballets. These features not only highlighted technical innovation but also her ability to perform high-risk maneuvers, such as synchronized dives and endurance swims, while maintaining narrative coherence. Frequent collaborations with co-stars like , who appeared opposite her in multiple films blending romance and aquatics, and bandleader , whose Latin rhythms infused musical numbers, added rhythmic and emotional layers to the productions. Williams' own athletic expertise influenced the routines, ensuring safety through realistic pacing and modifications that prevented injuries amid the demanding choreography.

Post-MGM Transition

After completing her final MGM film, The Unguarded Moment in 1956, Williams departed the studio, seeking to escape the that had defined her career in aquatic musicals and to pursue more dramatic roles. The success of her earlier aquamusicals had provided , allowing her to leave without immediate economic pressure, though she later faced significant personal financial challenges, including a $750,000 IRS assessment for stemming from her ex-husband's mismanagement. Williams' post-MGM film work included Raw Wind in Eden (1958), an adventure shot in where she portrayed a fashion model stranded on a Mediterranean island, marking a shift toward non-musical genres but receiving mixed reviews for its plot inconsistencies. She followed this with The Big Show (1961), a circus-themed co-starring , in which she played a performer navigating intrigue and exploitation, incorporating some sequences amid the spectacle but struggling to fully transition to land-based . Her last film appearance was in Magic Fountain (1963), a Spanish production directed by and co-starring her husband , which explored themes of solitude and idealism but remained unreleased in the United States. In parallel, Williams explored stage opportunities, co-producing and starring in The Esther Williams Aqua Spectacle (1957), a water-themed that underwent tryouts in but did not proceed to Broadway due to logistical challenges. Reflecting on this period, she noted the industry's resistance to her diversification, stating that limited her to water-related roles even as audience tastes shifted away from 1950s musical extravaganzas toward grittier narratives. These efforts highlighted her determination to evolve artistically amid declining opportunities for former musical stars.

Business Ventures

Swimwear Line

Following her rise to fame in aquamusical films, Esther Williams entered the fashion industry through a partnership with Cole of California in 1948, where she endorsed and helped design swimsuits that capitalized on her aquatic persona. The collaboration positioned her as the brand's primary spokeswoman, with Williams appearing in print advertisements and touring the country to promote the line, which emphasized functional yet stylish options for women engaged in and water sports. This venture marked one of her early entrepreneurial efforts beyond acting, blending her expertise in with commercial design. The swimwear featured one-piece suits crafted from durable Lastex fabric, designed with supportive elements like built-in bras and secure fits to accommodate active lifestyles without compromising on aesthetics. Williams influenced styles that were practical for "real swimmers," including halter necks and modest coverage that flattered a range of body types while allowing freedom of movement—qualities she personally vetted based on her competitive background. These suits were marketed as versatile for both performance and leisure, sold through department stores and catalogs across the United States and internationally, reaching a broad audience of women inspired by her on-screen elegance. The partnership, which extended through the early 1950s, proved commercially successful, with Williams' endorsements driving significant brand visibility and contributing to Cole of California's status as a leading swimwear innovator during the postwar era. Her involvement helped popularize supportive, activity-oriented designs that set trends in women's swimwear, though the line later evolved under the brand without her direct input. In 1988, Williams launched her own independent line, the Esther Williams Swimwear Collection, featuring retro-inspired designs in 1940s and 1950s styles. The brand continues to offer swimsuits and bikinis as of 2025.

Swimming Pools and Endorsements

In 1956, Esther Williams entered the swimming pool industry by endorsing and co-developing Esther Williams Swimming Pools, Inc., a venture that produced prefabricated above-ground and in-ground models designed for residential use. The company, initially partnered with entrepreneurs like Don Pruess, positioned Williams as its titular president, leveraging her fame from aquamusical films to market affordable, easy-to-install pools that appealed to post-war suburban families. This collaboration marked one of the earliest high-profile celebrity endorsements in the home leisure sector, building on her prior success with swimwear lines. The pools featured innovative designs drawing from Williams' cinematic water spectacles, including options for built-in fountains and slides that evoked the elaborate aquatic sequences in her films. Under her promotion, the company experienced rapid growth, expanding to national distribution through hundreds of dealers by the late and achieving annual sales exceeding $9 million by , with over 700 distributors across the . Although the original firm faced financial challenges leading to insolvency that year, Williams continued associating with subsequent manufacturers, ensuring the brand's endurance into the 1960s and beyond. The Esther Williams brand persisted well after her acting retirement, influencing generations of pool designs and remaining in production into the early 21st century, though no longer manufactured as of the . Williams actively promoted the pools through extensive tours and media campaigns, traveling more than 200,000 miles in 1959 alone to demonstrate installations and endorse the product's accessibility. She appeared in promotional films and advertisements, including a 1958 sales video that highlighted the pools' durability and appeal. These efforts, combined with endorsements for related aquatic accessories, helped drive the backyard pool boom in mid-century America, making home a symbol of and status.

Personal Life

Marriages and Family

Esther Williams married Leonard Kovner, a medical student she met while attending , in June 1940. The union ended in divorce in 1944, primarily due to the demands of her rising career in competitive swimming and early entertainment opportunities, which made sustaining the relationship challenging. In November 1945, Williams wed singer and radio announcer , a that lasted until their in 1959. The couple had three children: son Benjamin Stanton Gage, born in 1947; son Kimball Austin Gage, born in 1949; and daughter Susan Tenney Gage, born in 1953. Their relationship became increasingly strained by Gage's and excessive spending habits, which ultimately led to significant financial difficulties for Williams, including a substantial IRS . Williams' third marriage was to Argentine actor and director on December 31, 1969; it endured until Lamas' death from in 1982. The couple had no children together, though Williams served as stepmother to Lamas' three children from previous relationships, including the actor . On October 24, 1994, Williams married Edward Michael Bell, a former professor, Olympic event coordinator, and occasional , who became a supportive partner in her later years until her death in 2013. The marriage involved no additional children but fostered a blended family environment with her own offspring and Bell's family members. As a mother, Williams prioritized water safety and fitness, personally teaching her children to swim shortly after birth and incorporating family vacations centered around pools and aquatic activities to instill a lifelong appreciation for swimming.

Political Views

Esther Williams was a lifelong Republican whose political views were profoundly influenced by the anti-communist fervor in Hollywood during the 1950s. In her autobiography The Million Dollar Mermaid, she recounted how her wholesome, All-American persona in aquatic musicals like Skirts Ahoy! (1952) positioned her as a cultural counterpoint to perceived communist threats, allowing her to "fight the Cold War from a Hollywood pool" by embodying patriotic predictability amid the era's McCarthy-era paranoia. Williams demonstrated her party loyalty through active participation in Republican events, including a prominent appearance at the 1953 Republican Rally alongside actress . She campaigned for key GOP figures, supporting Richard Nixon's 1960 presidential bid and Ronald Reagan's successful 1966 run for governor, while attending various party gatherings over the years. Her views extended to public advocacy on social issues aligned with conservative priorities. Williams promoted youth sports programs, emphasizing swimming as essential for children's physical fitness and safety, drawing from her own experiences as a champion swimmer and mother who taught her children to swim from infancy. In the 1980s and 1990s, she engaged with Republican-backed causes, notably participating in the White House Conference for a Drug Free America in 1987, an initiative under President Reagan that reflected her commitment to anti-drug efforts informed by personal challenges.

LSD Experiences

In 1959, amid personal turmoil including depression and the dissolution of her second marriage, Esther Williams turned to therapy under the supervision of psychiatrist Dr. Mortimer Hartman at the Psychiatric Institute of Beverly Hills. Influenced by Cary Grant's public endorsement of the treatment in a September 1959 Look magazine article, Williams sought the sessions to confront emotional distress and gain clarity during a period of career transition. This therapeutic use of , then legal and administered in controlled clinical settings, marked an early instance of psychedelic-assisted among Hollywood figures. Williams underwent multiple sessions, beginning with an initial treatment involving the of five blue pills under Hartman's guidance. During these experiences, she reported vivid hallucinations, including a vision of her father's face shattering like a plate, which symbolized deeper family traumas such as the death of her brother Stanton in and the resulting emotional dynamics within her household. The sessions also provided insights into her professional as the "Million Dollar ," revealing how her public persona had suppressed personal identity and contributed to her sense of between private struggles and on-screen glamour. The outcomes of the therapy were profoundly positive for Williams, fostering self-discovery and emotional resolution without recreational intent. It particularly aided her in processing the breakup with actor , whose she later disclosed in her 1999 autobiography, framing the LSD experiences as a tool for coping with relational betrayals and reclaiming agency. Williams described the treatment as "instant ," crediting it with integrating fragmented aspects of her psyche and alleviating long-standing depression. Williams' public revelation of these LSD sessions in her 1999 autobiography The Million Dollar Mermaid ignited controversy, highlighting the taboo of celebrity treatments in the pre-counterculture . Critics and media debated the ethics of such disclosures decades later, while advocates viewed it as a pioneering account of psychedelic therapy's potential benefits, predating widespread cultural acceptance. The account underscored the era's experimental psychiatric practices, where was prescribed to address neuroses among high-profile patients.

Later Years

Television and Public Appearances

Following her departure from feature films, Williams transitioned to television in the late and , hosting a series of aquatic-themed specials on that showcased and water performances. Her first notable effort was The Esther Williams Aqua Spectacle in 1956, a live color broadcast featuring elaborate water ballets with a cast of swimmers, divers, and performers set to music. This was followed by Esther Williams in in 1960, filmed on location at the attraction and highlighting and swimming routines with guest performer actor . These specials drew high viewership by capitalizing on Williams' expertise in aquatic entertainment, blending her swimming background with elements. Throughout the 1960s and 1970s, Williams made select guest appearances on dramatic and variety series, often incorporating her swimming persona. She portrayed Sarah Harmon, a woman, in the 1960 episode "The Black Wagon" of Zane Grey Theatre, demonstrating her versatility beyond musicals. In 1960, she guest-starred as Molly, an old friend of the family, on , engaging in light comedic scenarios tied to her celebrity status. Additional spots included like and comedy-variety programs such as The Bob Hope Show, where she performed sketches and promoted water-related activities. In the 1980s, Williams remained active in public media, particularly around swimming events. She served as a commentator for during ABC's coverage of the 1984 Summer Olympics, providing expert analysis alongside and drawing on her pioneering role in popularizing the sport. This appearance underscored her enduring influence on aquatic disciplines, as debuted as an event that year. Extending her business interests in swimwear and pools, Williams promoted endorsed products on late-night talk shows through the 1990s, including segments on where she demonstrated pool designs and safety features for families. These appearances tied her media presence to commercial ventures, maintaining her image as a authority into her later decades.

Autobiography

In 1999, Esther Williams published her , co-authored with journalist Digby Diehl and released by . The book quickly became a New York Times , reaching number nine on the nonfiction list in October 1999. Drawing on her personal archives and recollections, Williams detailed her transformation from competitive swimmer to Hollywood icon, offering an intimate look at her life beyond the aquatic spectacles that defined her career. The autobiography featured candid revelations about her time at , including behind-the-scenes accounts of director Busby Berkeley's innovative yet demanding style in choreographing elaborate water ballets, where he pushed performers to extremes for visual perfection. Williams also disclosed personal scandals, such as her former lover Jeff Chandler's habits, which she described as a shocking discovery that contributed to the end of their relationship. These disclosures, alongside stories of studio politics and co-star dynamics, provided a raw contrast to her glamorous on-screen persona. Additionally, the book touched briefly on her experiences with therapy in the , which she credited with helping her process emotional traumas from her career and marriages. Central themes in the memoir included Williams's reflections on being typecast as the "swimming star," limiting her dramatic roles despite her ambitions, and her regrets over missing the 1940 Olympics due to , which redirected her path to entertainment. She highlighted her through as a source of resilience and independence, while also celebrating her post-Hollywood business successes in swimwear and pool design as triumphs over financial setbacks like . These narratives framed her life as one of adaptation and amid Hollywood's constraints. Critics praised the book for its unvarnished candor and engaging storytelling, with noting its exploration of the "splashy, sunny public image and the murky waters of her private life." lauded it as a "dishy, fast-paced heavy on ," appreciating Williams's revelations that humanized her . The autobiography sparked renewed interest in her films, boosting viewership of classics like (1952), and contributed to greater recognition of synchronized swimming's role in American entertainment history.

Death and Legacy

Death

In her final years, Esther Williams resided in , with her fourth husband, Edward Bell, whom she married in 1994. Despite health challenges, including a in 2007 and a fractured ankle in 2001, she remained active in her business ventures and public life. Williams managed age-related health issues but continued to embody vitality, often crediting her lifelong routine for her . Williams died peacefully in her sleep on June 6, 2013, at the age of 91 in her Beverly Hills home. The cause was listed as natural, attributed to complications from advanced age, with no specific illness reported immediately prior; her longtime publicist, Harlan Boll, confirmed the details, noting she had been in declining health. A family spokesman echoed that she passed without prolonged suffering. The family held a private memorial service shortly after her death, attended by close Hollywood peers. Williams was cremated, with her ashes given to family members for private disposition. Immediate tributes poured in from the synchronized swimming community, where she was revered as a pioneer who popularized the sport through her films; organizations like USA Artistic Swimming (formerly U.S. ) issued statements honoring her as the "godmother" of the discipline. Hollywood figures, including , who called her a "dear friend and trailblazer," also expressed condolences, reflecting on her enduring influence.

Cultural Impact

Esther Williams' portrayal of elaborate aquatic spectacles in her aquamusicals significantly popularized worldwide during the mid-20th century, contributing to its recognition as an Olympic in 1972 and full medal status at the Games. Her films, featuring synchronized routines with hundreds of swimmers, inspired a surge in public interest and participation, earning her the enduring moniker of the sport's "godmother" in historical accounts. However, a 2024 New York Times analysis of 's evolution highlights that while Williams amplified its visibility through Hollywood, the discipline's roots trace back to earlier 20th-century innovators like Katherine Whitney and the water pageants, underscoring a more collective history. Williams' aquamusicals left a lasting imprint on cinematic depictions of water-based performances, influencing subsequent films and media with their blend of athleticism and glamour, as seen in the biopic elements of (1952), which dramatized swimmer Annette Kellerman's life and echoed in later aquatic narratives like Disney's adaptations. She ranked among the top 10 box-office stars in 1949 and 1950, generating approximately $80 million in domestic grosses during an era when most productions budgeted under $2 million, cementing her as a key driver of the studio's postwar escapist successes. On a societal level, Williams' on-screen elegance fueled a boom in backyard swimming pools and swimwear sales, glamorizing aquatic leisure and women's beach fashion with rhinestone-embellished one-pieces and halter styles that became industry standards. Her cultural stature was formally recognized with a star on the in 1960 at 1560 and induction into the in 1966 for her role in promoting competitive . Following her death in 2013, Williams' centennial in 2021 prompted tributes including restored historic pools and retrospective articles celebrating her as a trailblazing athlete, with events at venues like Michigan's Grand Hotel highlighting her legacy. In 2025, tributes marked her 104th birthday on August 8, including celebrations and a screening event titled "Esther Williams: Mermaid of the Movies." Documentaries remain limited, yet her influence persists in contemporary swim fashion revivals and feminist scholarship on empowered female athleticism, as explored in Vicki Valosik's 2024 book Swimming Pretty, which reframes her contributions amid broader narratives of women's aquatic agency. Her 1999 autobiography, The Million Dollar Mermaid, briefly reignited public fascination with her trailblazing career.

References

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