Russell Patterson
Biography
From Wikipedia, the free encyclopedia Russell Patterson (December 26, 1893 – March 17, 1977) was an American cartoonist, illustrator and scenic designer. Patterson’s art deco magazine illustrations helped develop and promote the idea of the 1920s and 1930s fashion style known as the flapper. Patterson also worked in Hollywood for the silver screen. Patterson had an on-screen part playing himself in, and created lifelike dolls he called "Personettes" for, the film Artists and Models, which starred Jack Benny (four other cartoonists including Rube Goldberg also appeared). A New York Times movie reviewer wrote on August 5, 1937, "the appearance of the 'Personettes' struck me as satire of a high order. The puppets, you see, have a production number of their own… It seemed to me to be the perfect spoof of the usual song-and-dance interlude, proving how unnecessary it really is and how easy to duplicate (in fact, improve upon) with dolls." Patterson was art director on Stand Up and Cheer! (1934), and designed costumes and dance sets for Bottoms Up (1934). He also designed scenes and costumes for other films such as the Bob Hope and Martha Raye vehicle, Give Me a Sailor (1938). He designed Shirley Temple's wardrobe for her film, Baby, Take a Bow (1934).
Known For & Full Filmography2 Titles
Movie - 1937, 2h 15m • as Self
An ad man gets his model girlfriend to pose as a debutante for a new campaign.
Movie - 2013, 2h 15m • as Self - Pinup Artist (archive footage)
Before the advent of modern-day pornography, a vast and rapidly-paced world of smut peddling was the norm, complete with its own secret history. This documentary reveals the untold story of American cinema's gloriously sordid cinematic past. Starting in the 1920s, expert exploiteer David F. Friedman and Henenlotter navigate us through more than five salacious decades of skin flicks. It's the true story of dirty movies, traced in elegant detail from the bizarre locations where these nudie shorts were screened to the ongoing legal battles fought by their promoters. And of course there are the stories of the innovators themselves, people who often risked their own security and livelihood to make these films, believing in some way that what they were doing wasn't a 'bad' thing - and that it could rake in some dough.