Age, Biography and Wiki

Jane Marsh Beveridge was born on 2 December, 1915 in Ottawa, Ontario, Canada, is a Filmmaker. Discover Jane Marsh Beveridge’s Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is She in this year and how She spends money? Also learn how She earned most of networth at the age of 83 years old?

Popular As N/A
Occupation N/A
Age 83 years old
Zodiac Sign Sagittarius
Born 2 December 1915
Birthday 2 December
Birthplace Ottawa, Ontario, Canada
Date of death (1998-09-16)
Died Place N/A
Nationality Canada

We recommend you to check the complete list of Famous People born on 2 December.
She is a member of famous Filmmaker with the age 83 years old group.

Jane Marsh Beveridge Height, Weight & Measurements

At 83 years old, Jane Marsh Beveridge height not available right now. We will update Jane Marsh Beveridge’s Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
Height Not Available
Weight Not Available
Body Measurements Not Available
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Dating & Relationship status

She is currently single. She is not dating anyone. We don’t have much information about She’s past relationship and any previous engaged. According to our Database, She has no children.

Parents Not Available
Husband Not Available
Sibling Not Available
Children D’Arcy S. Marsh

Jane Marsh Beveridge Net Worth

Her net worth has been growing significantly in 2022-2023. So, how much is Jane Marsh Beveridge worth at the age of 83 years old? Jane Marsh Beveridge’s income source is mostly from being a successful Filmmaker. She is from Canada. We have estimated
Jane Marsh Beveridge’s net worth
, money, salary, income, and assets.

Net Worth in 2023 $1 Million – $5 Million
Salary in 2023 Under Review
Net Worth in 2022 Pending
Salary in 2022 Under Review
House Not Available
Cars Not Available
Source of Income Filmmaker

Jane Marsh Beveridge Social Network




Jane Marsh Beveridge retired from filmmaking entirely in 1948. Returning to Canada, she earned her Bachelor’s (1954) and Master’s (1956) degrees from Sarah Lawrence College, moving on to become a teacher and sculptor.


In a dispute with NFB founder John Grierson, Smart, now married and went by her married name as Jane Marsh, asked to be formally named as the executive producer on the Canada Carries On series. Faced with the difficulty in advancing her career, and after a final disagreement with Grierson, Marsh resigned from the NFB in 1944. Most sources cite struggles with Grierson, either over the furthering of her career or about the direction of the “Canada Carries On” series.

Marsh herself declared, “I resigned in April 1944, as Grierson had developed megalomania about the ‘Canada Carries On’ potential.” In a series of meetings with Grierson, priorities and scheduling continually were changed until it became clear that she would not have a “free hand” in producing the film series. She and others have also claimed that Grierson did not want to have a woman producing Canada Carries On, despite Marsh’s qualifications and experience with the series. In a later encounter with Grierson in postwar years, he acknowledged to her that he was wrong, but reiterated that he never would have given a woman that prestigious position. Marsh commented that during the years that Grierson was the NFB’s commissioner, women “… were so grateful to be working in interesting jobs that they didn’t realize they were slaves”.

This 15-minute 1944 documentary, directed, edited, and scripted by Marsh, documented how Canada’s “young flying enthusiasts” came from all over the nation to congregate at a Royal Canadian Air Force station and experience how the “spiritual and material value of their training” came to fruition.


The lives of Canadian women as they prepared for the Canadian Women’s Army Corps, the Royal Canadian Air Force, and the Women’s Royal Canadian Naval Service are documented in this 18-minute 1943 film produced by Raymond Spottiswoode and directed by Marsh.

Marsh directed this nine-minute 1943 documentary, which is an account of how the 9,000 members of the Woman’s Division of the Royal Canadian Air Force operated during World War II and prepared for their post-war role. After the war ended these aviators planned to act as “an essential factor in the air communications of peace-time civilization”.


For her first few months, Smart was involved in a number of projects and according to Graham McInnes, a fellow NFB colleague, she was considered a “dilettante” who was in the NFB as “a lark”. Smart, however, was given more responsibility and served as a writer and production assistant to other filmmakers before she was eventually given an opportunity to direct the short film, Alexis Tremblay: Habitant, working alongside cinematographer Judith Crawley, with work beginning in 1942. In her films, Smart used both a docudrama approach that relied heavily on staging events, as well as elements of a compilation documentary with newsreel footage edited to form the background to the dialogue. Her editing approach and her ability to incorporate a multitude of distinct sequences was “instinctual with a powerful artistic and political force.”

With the successful completion of her first film, Smart would serve as the “de facto” executive producer for the Canada Carries On documentary series, helming six productions in two years. The films she spearheaded in this series were the only war propaganda films at the NFB directed by a woman. After an increase in interest in films about “the role of women”, Marsh directed Women Are Warriors (1942), Proudly She Marches (1943) and Wings on Her Shoulder (1943).Women Are Warriors, was changed by supervisors from its original title, Work for Women. The film documented “women’s participation in the war effort in England, the USSR and Canada”.

While working on the NFB documentary film, Inside Fighting Canada (1942), Marsh met fellow filmmaker James Beveridge who later became a war correspondent in the Royal Canadian Air Force, serving in Europe from 1944–1945. Jane, recently divorced, and with a son, D’Arcy, married James Beveridge after the Second World War but their marriage was short-lived. According to Beveridge’s daughter, he recounted that “I think Jane couldn’t resist a man in an aviator’s jacket. They had a brief and disastrous marriage after the war was over. When I once asked him about it, Dad told me that ‘they were both too nutty’ and so they went their separate ways.”

This 14-minute 1942 documentary, produced by Raymond Spottiswoode and directed, edited, and scripted by Marsh, details how women participated in Canada, England, and Russia’s war efforts during World War II. The film highlights jobs such as parachute nurses, army doctors, factory workers, and technicians, as well as “ferrying planes from factory to airfield, operating anti-aircraft guns, fighting on the front lines, and joining active service auxiliaries.”

Produced by James Beveridge and directed, edited, and scripted by Marsh, this 11-minute 1942 documentary is an account of how “Canada was transformed into a fighting machine”during World War II. The film served as war propaganda that emphasized how “Canadians responded to the needs of war” by documenting how well the country was training airmen and soldiers, producing “war materials”, and guarding Canada’s borders.


Jane Smart joined the National Film Board of Canada in 1941, initially working as a screenwriter. She proposed a film on the home front, focusing on a small town in Ontario during the Second World War, a project that went into pre-production but was never completed. She also headed a research study on the role of women in wartime. During her research for Work for Women, the original title of the later documentary, Women Are Warriors (1942), Smart created an unpublished report highlighting the difficulties that women faced historically and contemporarily in which she suggests that women are either: “1) Put up on a pedestal and hypnotized into thinking they are frail, incompetent and dependent or 2) subjugated for the expediency of 1. lust 2. cheap labour by men.” Additionally, she asserts that men think women should never “be allowed to use their faculties for anything” other than “1. to make men comfortable 2. to bear children”.


The family had a summer house, which they named “The Barge”, on Kingsmere Lake located next door to the future Prime Minister of Canada, William Lyon Mackenzie King. Jane grew up among the social elite of Ottawa through her father’s connections as a lawyer. Her mother often hosted parties for prominent politicians and civil servants. As a result, the children socialized with many members of Ottawa’s political class who were or would become important figures in Canadian history, including acquaintances such as Graham Spry, Charles Ritchie, Lester B. Pearson and William Lyon Mackenzie King. The three girls were very close, and when they made their debut in society events, “all clever and all attractive”, were inevitably known as the “Three Smart Girls”, aping the title of the 1936 Deanna Durbin film of the same name.


After a private prep school for girls, and later secondary school, in 1931, at the age of 16, Jane travelled to London with her mother and older sister, “Betty” who was studying piano with classical pianist Katharine Goodson at the University of London. During her formative years, Jane wrote (and published) poetry, drew and painted as well as playing the flute, and while in England, would study art.


Jane Marsh Beveridge (born Jane Smart; December 2, 1915 – September 16, 1998) was a Canadian director, producer, editor, composer, screenwriter, teacher and sculptor. She was best known as one of the pioneering filmmakers at the National Film Board of Canada (NFB). .mw-parser-output .toclimit-2 .toclevel-1 ul,.mw-parser-output .toclimit-3 .toclevel-2 ul,.mw-parser-output .toclimit-4 .toclevel-3 ul,.mw-parser-output .toclimit-5 .toclevel-4 ul,.mw-parser-output .toclimit-6 .toclevel-5 ul,.mw-parser-output .toclimit-7 .toclevel-6 ul{display:none}


Jane Smart was born in Ottawa, Ontario to Russel S. Smart and Emma Louise (“Louie”) Parr; her father was a successful, self-made patent attorney. Russell and Louise had four children: Helen (b. 1909), Elizabeth (b. 1913), Jane (b. 1915) and Russell Jr. (b. 1921).