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Russell Gleason
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Russell Gleason
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Russell Gleason (February 6, 1908 – December 25, 1945)[a] was an American actor who began his career at the very beginning of the talking film era. He was born into an acting family, the son of actors Lucille and James Gleason. He had an early screen role in the 1930 film All Quiet on the Western Front.

Key Information

While still in the middle of a successful acting career, Gleason joined the U.S. Army in late 1943, during World War II. While awaiting deployment to Europe in December 1945 in New York City, Gleason fell to his death from a hotel window.

Early life

[edit]

Gleason was born to actors Lucile (née Webster) and James Gleason on February 6, 1908, in Portland, Oregon, where his parents were acting in local theater productions.[6] As a child, Gleason appeared on stage in some of the theatrical productions put on by his parents. His debut occurred when he was carried on stage by his grandmother to appear with his mother in The Heir to the Hooray. Growing up, he lived with his maternal grandmother in Oakland, California. During school years, he rarely saw his parents, but he acted with them in stock theater during summer vacations.[7]

Career

[edit]

Gleason's first foray into film was when he was 21, with a leading role in 1929's The Shady Lady, directed by Edward H. Griffith.[8] The following year he had a critical success in his role of Private Mueller in the Oscar-winning film, All Quiet on the Western Front. His short career only spanned 15 years, during which time he appeared in over 50 feature films, mostly in featured or starring roles.[9] In 1933 he acted on the stage in a showcase known for its connections to Hollywood, Harold Lloyd's Beverly Hills Little Theatre for Professionals.[10] He appeared with both of his parents in the film series surrounding The Higgins Family, of which nine films were made from 1938 to 1941. The Gleasons appeared in seven of those films, the last one being Grandpa Goes to Town in 1940 (the last two "Higgins" films were made with other actors).[11] He would also appear in "The Jones Family" series, produced by 20th Century Fox.

After making his last film, The Adventures of Mark Twain, which finished production in September 1942, he joined the Army. His final four pictures would all be released in 1944, after he was already in the service.

Personal life

[edit]
Gleason in Beverly Hills, California, 1932

Early in his career, he was romantically linked with Mary Brian.[12] Gleason was married to Cynthia Hobart (later Cynthia Lindsay), who was a stunt woman and swimmer, and later wrote a biography of Boris Karloff. The entire Gleason family were close friends with Karloff, and the young couple became the godparents to Karloff's daughter, Sara Jane.[13][14] Hobart also co-wrote George Burns' autobiography with the actor.[15] The Gleasons had a son, Michael, on June 1, 1939. After Russell Gleason's death, Cynthia remarried, to Lou Lindsay, and Michael took his step-father's last name, and went on to become a television producer.[16]

Death

[edit]

On December 25, 1945, Gleason was in New York City awaiting deployment to Europe with his regiment when he fell to his death out of a fourth story window in the Hotel Sutton on East 56th Street in Manhattan, which the army had commandeered to house the troops. Law enforcement was unable to determine whether Gleason's fall from the window had been accidental or a suicide.[17] It had been reported in some publications, such as Variety, that Gleason had been prescribed a sulfonamide to treat a cold at the time, and that the drug had resulted in grogginess that led him to accidentally falling.[18]

He was interred at the Long Island National Cemetery, a military cemetery, on December 28, 1945.[1]

Filmography

[edit]
Gleason and Mary Beth Hughes in the 1939 film. The Covered Trailer
Year Title Role Notes
1928 The Shady Lady Haley
1929 The Flying Fool Jimmy Taylor
1929 Seven Faces Georges Dufeyel
1929 The Sophomore Dutch
1929 Strange Cargo Hungerford
1930 All Quiet on the Western Front Private Müller
1930 Officer O'Brien Johnny Dale
1930 Sisters Eddie
1931 Beyond Victory Russell "Bud"
1931 The Homicide Squad Joe Riley
1931 Laugh and Get Rich Larry Owens
1931 Nice Women Billy Wells
1932 The Strange Case of Clara Deane Norman Ware
1933 Private Jones Williams
1934 I Can't Escape Tom Martin
1935 Hot Tip Ben Johnson
1935 Condemned to Live David
1936 Hitch Hike to Heaven Daniel Delaney
1936 A Tenderfoot Goes West Pike
1937 The Jones Family in Big Business Herbert Thompson
1937 Off to the Races Herbert Thompson
1937 Borrowing Trouble Herbert Thompson
1937 Hot Water Herbert Thompson
1938 Fury Below Jim Cole, 3rd
1938 The Higgins Family Sidney Higgins (first of a series)
1938 A Trip to Paris Herbert Thompson
1938 Safety in Numbers Herbert Thompson
1938 Love on a Budget Herbert Thompson
1938 Down on the Farm Herbert Thompson
1939 Should Husbands Work? Sidney Higgins
1939 My Wife's Relatives Sidney Higgins
1939 Here I Am a Stranger Tom Sortwell
1939 Undercover Agent William Trent
1939 Everybody's Baby Herbert Thompson
1939 The Covered Trailer Sidney Higgins
1939 News Is Made at Night Albert Hockman
1939 Money to Burn Sidney Higgins
1940 Earl of Puddlestone Sidney Higgins
1940 Grandpa Goes to Town Sidney Higgins
1940 Yesterday's Heroes Bill Garrett
1940 Young as You Feel Herbert Thompson
1941 Unexpected Uncle Tommy Turner
1942 Dudes Are Pretty People Brad
1942 Fingers at the Window Ogilvie
1943 Salute to the Marines Private Hanks
1943 Swing Shift Maisie Inspector
1943 Three Hearts for Julia Jones
1943 Seeing Hands (Short film) Ben Helwig Film nominated for an Academy Award for Best Short Subject, One-reel
1944 Lost Angel Reporter
1944 Swing Fever Sergeant
1944 Meet the People Bill
1944 The Adventures of Mark Twain Orion Clemens

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Russell Gleason

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Russell Gleason (February 6, 1907 – December 25, 1945) was an American actor best known for his supporting roles in over 50 films during the early sound era, including the war drama All Quiet on the Western Front (1930) and the family comedy series The Higgins Family (1938–1941), in which he often co-starred with his parents, actors and Lucile Webster Gleason. Born in , he began his career on stage in his family's productions before transitioning to Hollywood in 1929 with minor parts in films like The Sophomore and The Flying Fool. Gleason's screen work spanned genres from war epics to comedies, with notable appearances in Seven Faces (1929), Young as You Feel (1940), Unexpected Uncle (1941), and his final film, The Adventures of (1944). The son of veteran performers, Gleason grew up immersed in the theater world and made his Broadway debut in the farce The Sky's the Limit (1934), playing the role of Russell Brent. After establishing himself in films, he enlisted in the U.S. Army on November 29, 1943, as a private in and served as a Technician 4th Grade in the Photo Center during . Gleason died at age 38 after falling from a fourth-floor window of the Hotel Sutton in , , which was being used as barracks at the time; he was pronounced dead from internal injuries and a possible broken back upon impact. The incident, which occurred around 10:15 p.m. on Day 1945, was ruled accidental, though initial reports noted uncertainty whether he fell or jumped. He was buried at Long Island National Cemetery in .

Early life

Birth and family background

Russell Gleason was born on February 6, 1907, in Portland, Oregon, to actors James and Lucile Gleason, although some records list his birth year as 1908. His parents, both established performers, were in Portland at the time for a local theater engagement. James Gleason, born May 23, 1882, in , had begun his career in following service in the Spanish-American War and transitioned to Broadway by the early 1910s, where he acted, wrote, and directed. , born February 6, 1888, in , also rose through ranks before achieving prominence on stage, often performing alongside her husband after their 1905 marriage. Together, they formed a notable acting dynasty, collaborating on Broadway productions such as the successful 1925 comedy Is Zat So?, co-written by James with Richard Taber, and later extending their partnership into early Hollywood films. As an , Russell grew up immersed in this theatrical environment from infancy. Shortly after Russell's birth, the family relocated to , where he was primarily raised by his maternal grandparents while his parents continued their touring commitments. This move aligned with the Gleasons' expanding opportunities on the West Coast stage circuit, including stock company work at venues like the Liberty Theater. The household's deep roots in performance arts provided Russell with an early, constant exposure to the world of entertainment.

Childhood and introduction to acting

Russell Gleason was raised primarily by his maternal grandparents in Oakland, California, while his parents, actors James and Lucile Gleason, pursued their careers in touring stock theater productions across the country. This arrangement stemmed from his parents' demanding schedules, which often kept them away during the school year, leaving young Russell in a stable home environment amid the vibrant theater scene of Oakland, where his parents had earlier been members of a local stock company. His introduction to the stage came at an extraordinarily young age, with his debut occurring as an infant when he was carried onstage by his grandmother to appear alongside his mother in his parents' production of The Heir to the Hoorah around 1909. This early exposure marked the beginning of his immersion in the , as the family maintained strong ties to the theater world. Throughout his childhood, Gleason participated in various family stock company productions during summer vacations, gaining hands-on experience in routines, , and performance techniques under the guidance of his parents and their theatrical associates. These informal opportunities provided a practical , fostering his natural affinity for acting amid the rigors of touring ensembles. As he matured into his late teens, Gleason's environment—surrounded by prominent figures from Hollywood and Broadway through his parents' extensive connections—nurtured a deepening professional interest in , setting the stage for his transition to in the late 1920s.

Career

Early career in film

Russell Gleason entered the film industry at the outset of the talking picture era with his debut in the 1929 drama The Shady Lady, directed by Edward H. Griffith, where he portrayed the supporting character Haley alongside stars and Robert Armstrong. The following year, Gleason achieved his first major exposure playing Mueller, a pragmatic young German soldier, in Lewis Milestone's anti-war epic All Quiet on the Western Front (1930), produced by . In the film, Mueller exemplifies the harsh realities of by eagerly claiming the boots of his dying comrade Franz Kemmerich and later suffering a shrapnel wound that underscores the random brutality of combat. His portrayal contributed to the ensemble's impact in a production that earned widespread critical praise for its unflinching depiction of I's futility, with Variety hailing it as a "harrowing, gruesome" achievement that balanced realism and emotional depth. From 1930 to 1935, Gleason amassed over 20 supporting roles across a mix of comedies and dramas characteristic of the pre-Code era's bold themes, including romantic entanglements, crime, and social satire. Notable examples include his turn as the idealistic younger brother Jimmy Taylor in the aviation adventure The Flying Fool (1929), directed by ; Johnny Dale, a cop, in the crime drama Officer O'Brien (1930); and the earnest suitor Billy Wells in the Nice Women (). These films, produced by studios such as Exchange and RKO, highlighted his versatility in fast-paced narratives often exploring moral ambiguities and youthful exuberance before Hollywood's stricter censorship took hold. Drawing on his family's established acting background, Gleason transitioned from stage work to screen contracts with major studios like Universal, where he built a steady reputation as a dependable juvenile lead or second lead in B-movies, delivering earnest performances that supported stronger headliners without overshadowing them.

Notable roles and the Higgins Family series

Gleason transitioned to leading roles in the mid-1930s, marking a shift from supporting parts to more prominent positions in B-movies. In Fury Below (1936), he starred as Jim Cole III, the young heir to a company plagued by and low production, who uncovers a scheme by corrupt managers to sell off the operation while averting a miners' strike. Similarly, in A Tenderfoot Goes West (1936), Gleason portrayed Wellington Pike, a bookish Eastern author whose trip to exposes him to real frontier dangers, contrasting his fictional tales with authentic perils like bandits and chases. These films highlighted his emerging screen presence as a earnest, resourceful young man navigating challenges. The cornerstone of Gleason's mid-career success was the Higgins Family series, produced by from 1938 to 1940, in which he starred as Sidney Higgins, the affable son, alongside his real-life parents as Joe Higgins and as Lil Higgins, across seven films. The series revolved around the everyday comedic struggles of a middle-class family, such as job insecurities, meddlesome relatives, and bungled vacations, emphasizing chaotic yet loving dynamics that resonated as escapist fare during the tail end of the . For instance, in The Covered Trailer (1939), the family embarks on a trip in a trailer after a cruise falls through due to an scam, leading to arrests, revelations, and frantic resolutions that underscore their resilient bond. positioned the series as a low-budget counterpart to MGM's Hardy Family films, achieving commercial viability through its relatable humor and the genuine family chemistry of the Gleasons, which sustained multiple sequels. Beyond the series, Gleason took on supporting roles that reinforced his typecasting as the likable , often providing or youthful energy in ensemble casts. In films like The Covered Trailer (), his portrayal of Sidney contributed to the series' blend of and heartfelt moments, solidifying his image as a dependable, good-humored foil to his parents' bickering. By , Gleason had amassed over 30 film credits, mixing light comedies with sporadic dramatic turns, with the family collaborations significantly boosting his visibility and stability in Hollywood's B-picture landscape. However, following this peak, market shifts toward larger-scale productions and changing audience tastes led to a decline in lead opportunities, relegating him to smaller supporting parts in subsequent years.

Military service

In late 1943, amid the height of , Russell Gleason enlisted in the U.S. Army as a private on November 29 in , , driven by a sense of patriotism as the conflict raged in and the Pacific. His enlistment came during a period when many Hollywood actors volunteered for service to support the . Gleason was assigned to the Army Signal Corps Photo Center and stationed in , where he served in a non-combat capacity at facilities like the Hotel Sutton, which had been repurposed as temporary barracks for soldiers. During this time, he was awaiting deployment to but remained stateside in support roles related to and signaling operations. By 1945, he had been promoted to . Gleason's military commitment markedly curtailed his acting career, with film appearances dropping sharply after his enlistment. His last substantial civilian role was as in The Adventures of (1944), after which he made only brief cameos, such as a reporter in Lost Angel (1944) and a in Swing Fever (1944), likely filmed prior to his full service obligations. His service was cut short by his death in December 1945, preventing an honorable discharge but affirming his dedication through burial in a national cemetery.

Personal life

Marriage and children

Prior to his marriage, Russell Gleason was romantically linked to actress in the early 1930s, though the relationship produced no children. Gleason met Cynthia Hobart, a swimmer, stunt woman, and aspiring actress born on May 27, 1915, in , around 1936 while both were working in Hollywood. The couple's courtship lasted approximately two years, during which they were frequently seen together at social events such as horse shows, and neither dated others publicly. Their engagement was announced in late 1937, with Lucille Gleason expressing approval by gifting Hobart a ring. On June 9, 1938, Gleason and married in a private ceremony in , officiated by the same minister who had wed Gleason's parents, James and Lucille Gleason, in 1906. The couple settled into an apartment in Hollywood shortly before the wedding, establishing a home base amid their entertainment careers. , daughter of Henry Hobart—who contributed to projects like The Noose (1928)—continued her work in stunts and acting, including appearances in films, while supporting Gleason's rising profile in the Higgins Family series. Their son, Michael Morgan Gleason, was born on June 1, 1939, in , . The family resided in Hollywood during this period, navigating the demands of Gleason's frequent film commitments and Hobart's multifaceted roles in the industry, which fostered a shared professional environment. As Gleason's career peaked in the early 1940s with steady roles, the couple maintained a stable home life centered on their young son, with Hobart balancing her work and emerging writing interests alongside family responsibilities.

Friendships and social life

Gleason enjoyed close friendships within Hollywood's acting circles, particularly with Boris Karloff, with whom he shared a personal bond beyond professional encounters. In 1931, during a late-night makeup test for Frankenstein on the Universal Studios lot, Karloff—transformed into the Monster—unexpectedly encountered Gleason in the dark, causing his friend to flee in terror upon not recognizing him. This anecdote, recounted by Karloff himself, highlights the camaraderie among actors navigating the industry's demanding environment. Gleason's social life revolved around such informal interactions with peers, reflecting a modest lifestyle centered on industry connections and personal relationships rather than extravagant pursuits.

Death and legacy

Circumstances of the incident

On December 25, , Russell Gleason, a in the U.S. Army Photographic Center based in , , was residing at the Hotel Sutton at 330 East 56th Street in , which had been converted into temporary barracks for awaiting deployment to . He had recently been engaged in routine duties with his unit following the end of hostilities, with no prior health issues reported in contemporary accounts. Around 10:15 p.m. that evening, Gleason fell from a fourth-floor of the . His body struck a section of the second-floor roof below, where it was discovered by a fellow corpsman who heard the impact and immediately alerted authorities. Gleason was pronounced dead at the scene from internal injuries and a possible broken back. Initial reports in described the incident as a fall from the hotel window, noting Gleason's and film career while awaiting further details from investigators. Some subsequent accounts referenced the event occurring on December 26, but primary newspaper coverage confirmed the date as Day.

Investigation, burial, and remembrance

Following Gleason's fatal fall from a fourth-story window at the Hotel Sutton in on December 25, 1945, conducted an investigation but was unable to conclusively determine whether the incident was accidental or a . Reports indicated that Gleason had been prescribed for a , which may have left him groggy at the time. An confirmed death due to internal injuries sustained in the fall, but findings were inconclusive regarding intent, with no evidence supporting speculations advanced in later accounts, such as those by . A funeral service was held on December 28, 1945, at Riverside Memorial Chapel in , with pallbearers drawn from Gleason's unit at the Photographic Center in , . He was interred that same day at Long Island National Cemetery in , a military cemetery, receiving honors befitting his service as a in the U.S. . In the aftermath, Gleason's wife, Cynthia Hobart Gleason, remarried television producer Lou Lindsay, and their son, born Michael Morgan Gleason in 1938, adopted the surname Lindsay. pursued a career as a in the and , with credits including The New Temperatures Rising Show (1972) and (1972). Gleason's legacy endures primarily through his supporting role as "Muller" in the 1930 anti-war film All Quiet on the Western Front, a performance noted in film histories for capturing the camaraderie and tragedy of soldiers. His contributions to early sound films and B-movie comedies, such as the Higgins Family series, represent minor but representative examples of Hollywood's transition to talkies and light-hearted domestic narratives in and . Posthumous recognition remains limited, though his son's entertainment career extends a familial influence in the industry.

Filmography

Early films (1929–1935)

Gleason entered the film industry in 1929, appearing in a series of supporting roles in pre-Code era productions that spanned dramas, comedies, and early sound films from studios including Paramount and RKO. These early credits, totaling around 16 features through 1935, marked his transition from stage work influenced by his actor parents to on-screen performances, often portraying youthful, earnest characters in ensemble casts, including minor parts in The Sophomore (1929) and Sisters (1930). His roles during this period helped establish him as a reliable supporting player in Hollywood's burgeoning talkie era. In his debut, The Shady Lady (1929), a part-talkie comedy-drama directed by Edward H. Griffith for , Gleason played the supporting role of Haley, a young associate in a story of bootlegging and romance amid Prohibition-era intrigue. The film featured in the lead and highlighted Gleason's early comedic timing in a lighthearted yet risqué narrative typical of pre-Code cinema. Gleason's breakthrough came with All Quiet on the Western Front (1930), a landmark anti-war drama directed by for , where he portrayed Mueller, one of the young German soldiers grappling with the horrors of World War I . Adapted from Erich Maria Remarque's novel, the film earned Oscars for Best Picture and Best Director, providing Gleason exposure in a critically acclaimed ensemble alongside and , emphasizing themes of youthful idealism shattered by conflict. Other notable early roles included Jimmy Taylor in The Flying Fool (1929), an aviation adventure directed by Tay Garnett for Columbia Pictures, where Gleason supported William Boyd in a tale of daredevil pilots and romance; and Johnny Dale in Officer O'Brien (1930), a crime drama for Warner Bros. directed by Tay Garnett, depicting police work in an urban setting. In 1931's Beyond Victory (RKO, directed by Irving Cummings), he played Russell "Bud," a soldier in a World War I story of camaraderie and loss, further showcasing his ability to handle dramatic military themes. By the mid-1930s, Gleason appeared in horror-tinged films like Condemned to Live (), a production directed by Frank R. Strayer, in which he portrayed , the son of a suspected in a small-town mystery blending gothic elements with pre-Code boldness. His role in Hot Tip (), a directed by (his father) for RKO, saw him as Ben Johnson, a racetrack enthusiast in a humorous family-oriented plot, reflecting the lighter side of his versatile early output. These films underscored Gleason's growing presence in B-pictures and genre works, solidifying his career foundation before transitioning to more prominent series roles.

Later films (1936–1945)

Gleason continued his acting career into the mid-1940s, appearing in approximately 30 films that spanned comedies, dramas, mysteries, and wartime productions, often highlighting his affable persona. Many of these were low-budget features from studios like Fox, , and , with roles ranging from leads in family series to supporting parts amid World War II's production limitations. His output began in 1936 with action and western entries, including Fury Below, where he portrayed Jim Cole III, a mining heir uncovering sabotage amid labor unrest, distributed by Treo Film Exchanges, and A Tenderfoot Goes West as the bumbling Wellington Pike in a comic frontier tale at Universal Pictures. He also featured as Daniel Delaney in the romantic comedy Hitch Hike to Heaven that year. From 1937 to 1940, Gleason appeared as the son Herbert Thompson in 10 installments of 20th Century Fox's Jones Family series, a lighthearted depiction of suburban family life co-starring Spring Byington as the mother; key examples include Off to the Races, focusing on horse-racing mishaps, Love on a Budget about financial woes, A Trip to Paris involving European travel blunders, Down on the Farm with rural escapades, Safety in Numbers centered on community events, Everybody's Baby dealing with child-rearing challenges, The Jones Family in Big Business, Borrowing Trouble, Hot Water, and the finale Young as You Feel. Overlapping with the Jones series, Gleason led the ' Higgins Family comedies from 1938 to 1941, playing Sidney Higgins—the optimistic son—in all nine films alongside his parents, as the gruff father and Lucile Webster Gleason as the practical mother; representative titles are The Higgins Family (1938), initiating the domestic humor franchise, My Wife's Relatives (1939) on in-law troubles, Should Husbands Work? (1939) satirizing gender roles, The Covered Trailer (1939) about a family , Money to Burn (1939) involving a windfall, Grandpa Goes to Town () with generational clashes, Earl of Puddlestone () featuring mistaken identity, On Their Own () on independence struggles, and Petticoat Politics (1941) tackling election antics. These B-movies emphasized relatable family conflicts and were Republic's answer to MGM's series. Beyond the series, Gleason took varied supporting roles, such as the idealistic Tom Sortwell in the romantic drama Here I Am a Stranger (1939, 20th Century Fox), reporter Albert Hockman exposing corruption in the crime thriller News Is Made at Night (1939, RKO Radio Pictures), and undercover operative William Trent in the spy adventure Undercover Agent (1939, ). In 1940, he appeared as Bill Garrett, a college athlete, in the inspirational Yesterday's Heroes (Grand National Films) and reprised Herbert Thompson in the Jones Family finale Young as You Feel. Gleason's 1941 output included the lead as Tommy Turner, an orphan discovering family secrets, in the comedy Unexpected Uncle (RKO Radio Pictures). As the U.S. entered , his schedule aligned with military enlistment in 1943, leading to fewer but patriotic supporting turns, such as ranch hand Brad in the western Dudes Are Pretty People (), mental patient Ogilvie in the thriller Fingers at the Window (), and soldier Jones in the romantic comedy Three Hearts for Julia (, 1943). In 1943, amid wartime material shortages and studio shifts to morale-boosting content, Gleason played Private Hanks in the musical Salute to the Marines (), honoring military families, and a police inspector in the factory-set Swing Shift Maisie (). His final credited roles were minor, including an uncredited reporter in the drama Lost Angel (, 1943), Bill in the Meet the People (, 1944), a in the swing musical Swing Fever (, 1944), and , 's brother, in the biopic The Adventures of Mark Twain (, 1944), with several uncredited bits reflecting constrained opportunities during his active service.

References

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