Bandito
Here are just a few of the movies that Steve McQueen passed over in his lifetime, researched from Marshall Terrill's exhaustive biography, Steve Mcqueen Portrait of an American Rebel (93):
The Execution of Private Slovik (59): Frank Sinatra wanted to direct the young rising star McQueen in this film. The two had already worked together on Sinatra's Never So Few (59), but McQueen was weary of becoming one of Sinatra's famous "flunkies." The role was eventually given to another rising star a decade or so later, Martin Sheen, in 1974. It was produced for televison and made Sheen a star.
Ocean's Eleven (60): This would be McQueen's last "offical" invitation to join Sinatra's already infamous Rat Pack. He declined for the same reason above. McQueen was selling his own brand of cool.
Pocketful of Miracles (61): By the early sixties, legendary director Frank Capra had fallen on hard times professionally. In a town where the industry motto is: you're only as good as your last picture - Capra was badly in need of a hit. He wanted to saddle the McQueen charisma, but alas, the McQueen name was not yet well-known enough to star in a studio film of this size. The role went forgettably to Glenn Ford - but one can only wonder if this could have been the breakthrough role that McQueen would still have to wait a few more years for: The Great Escape (63).
Breakfast At Tiffany's (61): Before George Peppard was offered the role, it fell into McQueen's lap. He passed because the film was essentially a starring vehicle for his would-be co-star, Audrey Hepburn. This would not be the last time he would be offered a part alongside her - but it was the first.
King Rat (65): Paul Newman was offered the role first, that would eventually end up being played by George Seal (in his best and most under-rated performance). Because Newman was McQueen's rival (personally and at the box office) and McQueen was offered his "sloppy seconds," he turned down the part as well. It's a shame - it is a phenominal film and a terrific part. Even though Segal did an exceptional job, you can't help but "feel" McQueen's spirit in this one.
Return of the Seven (66): Yul Brynner tried to catch lightening in a bottle (a second time) by trying to persuade McQueen to reprise the role of Vin, (the one that made him famous) from the legendary The Magnificent Seven. By this time (thanks to The Great Escape) McQueen was a household name, and he didn't take second billing from anybody - let alone a "washed up" Brynner. He was cordial to his former original Seven co-star, but refused none the less - mainly because he thought the plot was ridiculous. He promised Brynner he would star in his next film.
The Kremlin Letter (66): I only included this one here because it would have been McQueen's only chance to work with maverick Hollywood legend (and The Treasure of the Sierra Madre director) John Huston. Huston wanted McQueen - but he also wanted to shoot in England - and unfortunatley, McQueen did not.
Triple Cross (67): This was Brynner's next film. He sent word to McQueen. McQueen responded with a cable: "I'M TRULY SORRY THAT I CAN'T BE WITH YOU BUT MY HORSE REFUSES TO SWIM THE ATLANTIC." This time, Brynner got the message.
In Cold Blood (67): Richard Brook's classic could have starred McQueen. Fortunately he decided to go with a couple of unknowns, Robert Blake and Scott Wilson. The rest is history. Incidentally, the other part was originally supposed to have gone to Newman.
The Sand Pebbles (66) McQueen's only Oscar nominated performance (for Best Actor)
Two for the Road (67): Albert Finney would eventually take the part (in this little-seen but brillant gem) but McQueen was again first on the list. He actually did not refuse it, but lost out on a business deal with a friend who had shooed the producer of the film away. McQueen was pissed, because co-star Audrery Hepburn had been on his top ten list of actresses he would like to "nail." Bummer.
Butch Cassidy and the Sundance Kid (69): Hands down - the best role that McQueen was up for. Paul Newman gained control of the script and aced McQueen out in favor of Marlon Brando. Brando passed and Redford stepped in - making him a household name over-night - and providing him with a future "brand name" to boot.
Dirty Harry (69): That's right - this could have been McQueen's baby. He was offered the property long before Eastwood. He declined after shooting Bullitt - on the basis that he would not star in another "cop film." Too bad. He would have made a fine Harry Callahan.
Play Misty for Me (71): Yet again - McQueen was offered a project that would eventually make Eastwood a star (at least as director). McQueen's company Solar acquired this script and he was excited about it, since nothing like it had ever been made before. the only problem, in McQueen's eyes, was that the woman in the film had a stronger role than McQueen's character. He passed. Eastwood directed and starred and to this day, the film is considered "probably the best debut film of any American director."
The French Connection (71): This one gets me everytime. I know Hackman is wonderful in the role (and probably better suited than McQueen) but still - this could have been his signiture role. Director William Friedkin envisioned McQueen in the role of "Popeye" Doyle, but no "cop films" for him after Bullitt. This would not be his last chance to work with Friedkin - and the one to come is even more heart-breaking.
The Long Good-bye (73): Robert Altman, a neighbor of McQueen's, wanted him for the role that ended up going to Elliot Gould. This one was simple - McQueen wanted too much money, Altman said, "fuck you."
Fort Apache, The Bronx (74): It wasn't until 1981 that the film finally got made with none other than Paul Newman in the starring role. It is one of Newman's least talked about - but best films. An excellent police drama. Need I say why McQueen passed?
The Betsy (75): McQueen and then wife, Ali MacGraw, were both up for this one. They passed - the roles went to Robert Duvall and Katherine Ross - the film tanked.
First Blood (75): Sylvester Stallone. The year was 1982. Vietnam was not as distant a memory as it is now. The film had been floating around Hollywood for years. McQueen was the first person to pass on it. It would have been a completely different take on the character of John J. Rambo - and the film itself (as well as having a different impact on the entire decade of the eighties). Incidentally, Burt Lancaster was the director's only choice to play Rambo's former leader and father-figure, Col. Trautman. Lancaster passed becuase he did not like the "happy ending" the film-makers gave the film, versus the more darker version of the book. Nice pass on both their parts I say. I have tried for years to like this film - and while I respect it (specifically for Crenna and Stallone's performances) I simply cannot get into it. It's got no heart.
One Flew Over the Cuckoo's Nest (75): Believe it or not - it was offered to McQueen before Nicholson. Kirk Douglas played the role on stage to much acclaim. He may have been too old for the part by this time. McQueen's under-stated acting style was completely at odds with the character. Nicholson won his first Oscar for Best Actor as Randle Patrick McMurphy. Nice Choice.
Apocalypse Now (76): Francis Ford Coppala wanted McQueen first. McQueen did not think that spending 16 weeks in the jungle was his cup of tea. He out-bid himself on purpose. The film starred Martin Sheen and Marlon Brando. Well, you've heard of this one before.
The Thomas Crown Affair (68)
A Bridge Too Far (76): This is a good one. Director, Sir Richard Attenborough, wanted McQueen to appear in the cameo role that ended up going to Redford. Academy Award winner Maximilian Schell (for Best Actor - Judgement at Nuremberg 61) was in the film as well. Schell had an affair with McQueen's first wife, Neile. McQueen wanted 3 million dollars up front for a couple of weeks work. Luckily for him, they didn't agree to his fee so he wouldn't have to keep uping his price.
Grace Quigley (76): This film would eventually star Katherine Hepburn and Nick Nolte in 1985. Hepburn personally went to McQueen's home to ask him to star. McQueen was flattered, but he declined. The story goes that McQueen was not home when Hepburn arrived (he went for a motorcycle ride knowing that the great actress was coming), so McQueen's then wife Ali MacGraw had to keep her company on her own. Hepburn was annoyed and demanded that MacGraw fix her lunch. She only had a salad and a can of soup (they're movie stars - they eat out every night, right?) which Hepburn did not touch the salad. When McQueen returned, Hepburn was all charm, but she complained that MacGraw made "bad soup." The film would have been great if McQueen did it - it's about a woman who hires a hit-man to bump off some of the people living in her retirement home. The film bombed when made a decade later.
The Missouri Breaks (76): It was supposed to star McQueen and Brando. Instead, it starred Brando and Nicholson. It died. Too bad, becuase it's one of the best pictures of the seventies. One of director Bob Rafelson's masterpieces.
Nothing In Common (77): The only reason I bring this one up is because it would have been one of McQueen's greatest projects. McQueen himself was dancing around his office when he heard of the property. It was never made in this form as a feature film, but it would have been about a kidnapper (McQueen) who takes a child for ransom, then develops a relationship with his hostage. He lost the project because one of his many business enemies at the studio (McQueen had scores of them) squashed it out from under him. This however is still not the one he absoltuley should have made.
The Bodyguard (77): Everyone knows that writer Lawrence Kasdan originally wrote the role of ex-Secret Service agent turned personal secruity expert, Frank Farmer, for McQueen. The singer he was hired to guard was going to be Diana Ross. Imagine that. At that time - the biggest male star in Film protecting the biggest female star in Music - essentially playing themselves in a film that would have blown the color barrier wide apart. Perhaps McQueen just got nervous over how big it could have been. He passed. Ryan O'Neal was considered to replace him for a while but I think everyone was too let down by McQueen. Sixteen years later, Kevin Costner (a McQueen disciple with his hair cut like him and wearing his signiture bomber jacket from The Hunter, 80) starred alongside mega pop-star Whitney Houston in the exact same role dynamics. The film brought in $100 million domestically. Now for the biggest heart-break yet.
The Sorcerer (77): William Friedkin again tried to get McQueen to star in his ill-fated remake of Henri-Georges Clouzot's classic The Wages of Fear (53). The plot was the same: In the South American jungle supplies of nitroglycerene are needed at a remote oil field. The oil company pays four men to deliver the supplies in two trucks. A tense rivallry develops between the two sets of drivers and on the rough remote roads the slightest jolt can result in death. McQueen didn't want to leave wife MacGraw's side. He bargained with Friedkin to bring her in on the film. There is no part in the film for a woman. It's a film about men doing a job. Friedkin balked at the idea. Then, McQueen asked if they could film the movie in the States. Again, Friedkin stood his ground "it has to be South America, Steve." Finally, McQueen agreed to go (unbelieveably) but only if Ali could be brought on as a producer - anything to be close to her. Friedkin denied him this. McQueen bowed out. Friedkin admits to having been cocky since he had a couple Academy Awards under his belt at that time - but he always regretted not doing anything he could to secure McQueen. The role of Jackie Scanlon went to (the competent) Roy Scheider, but he was no McQueen in the part. To this day, it remains
the quintessential McQueen film that McQueen never made. See it for yourself. It's still an excellent film (Sorcerer) but it is absolutely heart-breaking to not see McQueen in it. Period.
Roy Scheider (Sorcerer, 77)
The Gauntlet (77): This was originally written for Barbra Streisand and Marlon Brando. Brando bowed out - McQueen was offered the lead. It was a perfect fit for him. But, Streisand didn't want McQueen (for reasons unknown - although I think she probably didn't want him putting his hands, or other body parts, all over her - which he was famous for) and suggested Clint Eastwood instead. Eastwood was indeed interested - so much so that Steisand dropped out alltogether. Her role went to Eastwood's then-girlfriend, Sondra Locke. It was released in December 1977 and was a smash hit. It is actually one of my favorite Eastwood director/starring films. I love the film. Terrific early Eastwood jazz score.
Close Encounters of the Third Kind (77): No shit. McQueen was offered the role that went to Richard Dreyfuss. He turned it down because he did not think that it would ever get off the ground. The studio didn't either. The joke was on them. Not only was it one of the biggest money-makers of that year - but it is now considered one of Spielberg's true masterpieces - and personally, I feel it's because of Dreyfuss. It would have been nearly impossible to get behind McQueen in that role. Nobody could fuck with McQueen - Dreyfuss on the other hand - well, you get my point.
The Driver (78): Ryan O'Neal starred in this vastly under-rated crime flick directed by the vastly under-rated director, Walter Hill (The Warriors, 79). McQueen said no because by this time - he was fed up with cars and guns. It's a shame. O'Neal gave a very McQueen-like performance in this film - that will no doubt one day recieve the acclaim that it deserves.
Convoy (78): One of Peckinpah's most forgotten about films (and not for a bad reason). The role went to Kris Kristofferson. What can you say about a film based on a hit country song? Obviously McQueen knew: "no thanks." The film also co-starred Ali MacGraw, who remembered having been offered the same part a few years prior. It's kind of a kitschy-cool movie - but mostly not. McQueen was wise.
Tai-Pan (78): James Clavell - epic adventure - bloated mis-fire. McQueen knew that it would never get off the ground (unlike Close Encounters) so he demanded that he be paid $10 million for the whole project - $1 million just for signing. He was to recieve the other $9 million in installments. However, if one installment was late - he could keep the signing amount. Of course, the first installment was late, McQueen pulled out and kept the $1 million just for signing. Brilliant. The film was made in 1986 with Australian actor Bryan Brown. Ever heard of it? Didn't think so.
Quigley Down Under (79): I'm sure you know the 1990 version with Tom Selleck. This would have starred McQueen back in the late seventies. He loved the idea about shooting a western in the Australian outback. It would have been directed by his pal, Buzz Kulik (who directed his last film, The Hunter, 80) but it never gelled.
Superman (79): McQueen's name was mentioned, along with just about every other big-name male star in Hollywood at the time to play the man of steel. His name was crossed off the list according to producer David Salkind because he had gotten "too fat" by that time.
Pale Blue Ribbon (80): This one never got made but it is suiting that it was the last film McQueen considered doing before his death. Friend and stunt-double Loren Janes bought the rights to this story about Vietnam's two highest-decorated soldiers. McQueen agreed to do it if his health improved. Sadly, it did not. He passed away on November 7, 1980 from lung cancer. His legacy lives on, not just in his films - but in his status as Hollywood icon and the undisputed "King of Cool."
There were many other famous films that McQueen passed on, so if you are interested in these (and in the man himself) you should pick up a copy of Terrill's book right away. It is the best book ever written about Steve McQueen and will probably always be.
"When I believe in something, I fight like hell for it." - Terence Steven McQueen (nickname: "Bandito")
