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Jane Adams

In 1945, producer Walter Wanger invited cover girl Poni Adams to come to Universal to screen test for a role in his upcoming film, "Salome, Where She Danced." While she didn’t land the lead, the already successful Conover model was awarded a contract by the studio.

Adams was born Betty Jane Bierce in San Antonio, Texas. At the age of two, she and her family moved to California. While still in her teens, she enrolled in the Pasadena Playhouse, and earned her Theater Arts degree from the institution in 1938. Following her stage experience, she eventually joined the Harry Conover Modeling Agency, and had appeared on several magazine covers before being discovered by Wanger.

Studio publicity proclaimed that Adams was nicknamed "Poni" because of her horseback riding expertise, yet this was apparently not the case. In an interview published in the book Westerns Women, written by Boyd Magers and Michael G. Fitzgerald, she explained that the name was simply assigned to her while a model at the Conover Agency. Regardless, Universal soon decided a different name was needed for their new star. A contest was held, and afterwards, she acquired a new name: Jane Adams.



A western portrait of Adams, circa 1945.


The aspiring starlet was quickly put to work in the studio’s "B" western unit. Over the next fourteen months, she appeared in no less than five of Universal’s cowboy tales with costars Kirby Grant and Fuzzy Knight. One of her more embarrassing moments came while working on one of these films. After departing makeup late one morning and missing her ride to the back lot, she decided to set forth on a bicycle to join the crew. After a subsequent fall, it was back to wardrobe and makeup again for the determined, if a bit crestfallen, trouper.

The first two of these western films, "Trail to Vengeance" and "Code of the Lawless," found her billed as Poni Adams. In all of her subsequent features and modeling work, she would be known as Jane Adams.

The teaming of Grant, Adams and Knight continued a long tradition of exciting western programmers at Universal. Knight was the one constant in the series, appearing opposite such stars as Johnny Mack Brown, Bob Baker, Tex Ritter and Rod Cameron. Kirby Grant was the latest in that succession of the screen’s great cowboys who lent their talents to the studio. A Montana native, Grant began his career as a singer and bandleader, and later went on to his greatest success in the 1950’s television series, "Sky King." In 1985, while en route to Cape Canaveral to appear as a guest celebrity for a NASA space shuttle launch, Grant was killed in an automobile accident. A versatile leading man, he also appeared in the Universal horror film "The Spider Woman Strikes Back" in 1946.

Adams western films notwithstanding, the 5’3" actress is perhaps best remembered today for her work in the 1945 production of "House of Dracula." Her sympathetic portrayal of the hunchbacked nurse, Nina, is a favorite among horror film aficionados. Adams remembers making "House of Dracula" as a pleasant experience, except for the rather heavy plaster hump she had to wear. However, her discomfort did not adversely affect her performance. With few exceptions, most critics point to hers as one of the best portrayals in the film.



Adams and Onslow Stevens in a scene from "House of Dracula" (1945).



Jane Adams and Martha O’Driscoll are menaced by Lon Chaney, Jr.

as the Wolf Man in "House of Dracula" (1945).


Along with Adams, the cast also included John Carradine, Lon Chaney, Jr., Lionel Atwill, Martha O’Driscoll, Onslow Stevens and Glenn Strange. Adams already knew Carradine and Stevens from her former days at the Pasadena Playhouse. During her tenure there, she had performed on the Senior Stage, Laboratory Theater, Playbox, and ultimately appeared in five Main Stage plays, gaining valuable experience in her craft. The skills she had attained allowed her to step into featured roles almost from the beginning of her Universal contract. A proving ground for many performers past and present, The Pasadena Playhouse was named the official theater of the State of California in 1937.

 

Another Playhouse alumnus, respected character actor Samuel S. Hinds, joined Adams in the cast of the 1945 Deanna Durbin murder mystery "Lady on a Train." The film also featured David Bruce, Ralph Bellamy, Edward Everett Horton and Dan Duryea.

In early 1946, Adams starred in the murder mystery "Smooth as Silk" with Virginia Grey and Kent Taylor. While not a Universal horror film, the story of an attorney turned killer did offer some "horrific" elements. Studio regulars Milburn Stone, John Litel and Charles Trowbridge were also in the cast.

Yet another of Adams’ Universal credits was the serial "Lost City of the Jungle." The story blended science fiction and thrills as Lionel Atwill sought world domination through the use of "Meteorium 245," an infallible defense against the atom bomb. Adams received top billing in a cast that included Atwill, Russell Hayden and Keye Luke. It was to be Atwill’s last screen appearance. The horror film icon died from cancer during the course of the production, on April 22, 1946, and his remaining scenes were shot with stand in George Sorel.

Also that year, Adams was cast as "Lotus" in Universal’s "A Night in Paradise." A major release for the studio, and filmed in Technicolor, the Walter Wanger production was directed by Arthur Lubin. Merle Oberon starred with able support from Adams, Turhan Bey, Gale Sondergaard and Thomas Gomez.

Additionally, she appeared opposite Rondo Hatton, Universal’s Monster without Makeup, in "The Brute Man." Adams portrayed a blind girl that befriends the misshapen killer. Hatton, whose real life deformities were the result of the disease acromegaly, died shortly after the film was completed. Universal subsequently sold the film to Producers Releasing Corporation (PRC) for distribution.

Following her husband’s return from a military tour of duty overseas, Adams left Universal in 1946. However, that was not to be the end of her career. Some of her other roles included the female lead in the Columbia serial "Batman and Robin" with Robert Lowery and Johnny Duncan in the title roles, and the Bowery Boys comedy "Master Minds," both in 1949. The latter reunited Adams with her "House of Dracula" co-star Glenn Strange, and makeup artist Jack Pierce.

She also co-starred with Jimmy Wakely and Dub Taylor in "Gun Law Justice" in 1949 as well. The film was directed by Lambert Hillyer, who had helmed the horror classics "Dracula’s Daughter" and "The Invisible Ray" at Universal in 1936.

Adams appeared in "Western Renegades" at Monogram with the popular western star Johnny Mack Brown in 1949. They were paired twice more in 1950, appearing together in "Law of the Panhandle" and "Outlaw Gold." Wallace Fox served as director for both "Outlaw Gold" and "Western Renegades." Fox had produced and directed all five of her Kirby Grant westerns at Universal a few years earlier. He also had experience with horror films, having directed the last of Universal’s Inner Sanctum mysteries, "Pillow of Death," in 1945.

With military service again carrying her husband abroad during the Korean conflict, Adams kept busy making occasional television appearances. Most notably, she was cast in the premiere episode of "The Cisco Kid" with Duncan Renaldo and Leo Carrillo, and appeared in a Cisco Kid feature film, "Girl from San Lorenzo," in 1950. Adams also guest starred on such popular programs as "Wild Bill Hickok," "Superman," and "Adventures of Kit Carson."

Following her husband’s return stateside, Adams departed the screen to concentrate on family life. Her marriage to Thomas Turnage produced two children, and was an enduring one. Turnage, who retired from his military career with the rank of Major General, would later serve in a cabinet level position for President Ronald Reagan in the early 1980's.

Widowed in December, 2000, Adams currently resides near Palm Springs, California. She continues to attend film festivals throughout the country, much to the delight of her many fans.

An exceptional beauty, Jane Adams possessed a natural charm that shined brightly on the silver screen. Both of these characteristics combine to make her a memorable player from the studio’s golden age.

 


The title lobby card for the serial "Lost City of the Jungle" (1946).


Johnny Mack Brown and Jane Adams in a Monogram publicity photo for

"Outlaw Gold" (1950).


Jane Adams and Glenn Strange – behind the scenes on the set of

"House of Dracula" (1945).