Walter Pidgeon (1897-1984)
- Allan Jones, Show Boat, 1936. Pidge, to his pals and gay lovers, started as a singer - Fred Astaire recommended him to some Broadway friends - but was so determined on drama, he refused all musicals until returning to Broadway in the mid-50s.
- Laurence Olivier, Rebecca, 1939.
- Kent Taylor, I Take This Woman, 1939. Hollywood called it: I Retake This Woman as MGM honcho LB Mayer moved heaven and earth, three directors and Pidgeon among his supporting cast during an 18 month shoot to make a top star of the woman who stirred his hypocritical gonads in 1933's Extase: Hedy Lamarr. Lucky Pidgeon! He had to leave the mess after being loaned to Republic’s Dark Command.
- Edward Everett Horton, Ziegfeld Girl, 1940. Not about one girl but three: Judy Garland, Hedy Lamarr and, stealing the show: Lana Turner. Oddly, no one played Broadway icon Florenz Ziegfeld. (William Powell was busy?). Pidgeon and Frank Morgan were in the mix for his right-hand man… in 1938 when the gals were . Virginia Bruce, Joan Crawford and Eleanor Powell.
- Spencer Tracy, Woman of the Year, 1942. As with The Philadelphia Story, Katharine Hepburn had nutured another pip of a comedy for herself and... MGM said Clark Gable. Or Walter Pidgeon. “Tracy or nothing,” said Kate, starting their nine films during not so much an affair (after the opening lust waned) as companionship and dependency for 27 tumultuousj years up to his 1967 death, while both had affairs numerous other bisexuals - with stars and what director George Cukor called out-of-work actors.
- Robert Taylor, Bataan, 1942. Announced for the tough veteran Sergeant Bill Dever in October 1942 - or Bill Dane when Taylor played him. To the hilt.
- Robert Taylor, Song of Russia, 1943. Change of symphony conductor. in MGM’s over-egged slice of (WW11) Soviet propaganda. Eight years later, Hollywood was accusing everyone and his wife of being Reds! Headliner Robert Taylor (in his last film before going to WWII in the US Navy) called the film: “Distastefully Communistic.”
- Orson Welles, Jane Eyre, 1943. After dithering between Pidgeon, Ronald Colman and Alan Marshal, producer David O Selznick saw the light in July ’42 and invited Welles to be the byronic Mr Rochester. By November, DOS had sold it all to 20th Century-Fox. Plus Claudia and Keys of the Kingdom.
- Walter Huston, Dragon Seed, 1944. “Get me Walter.” “Which one?” “Look, any damned one will do...!” One of the wildly miscast movies of all time. “Of the 33 actors with speaking roles, only three were Oriental,” admitted co-director Jack Conway. Insulting! Pearl Buck’s book had a point - exposing Japanese atrocities in China. MGM made it a farce, with the unlikeliest-looking Chinese ever spawned by Hollywood. And could only think of their usual paterfamilias for Ling Tan. Except Edward Arnold, Donald Crisp, Frank Morgan, Walter Pidgeon and Mr Miniver failed their Eurasian tests. Finally, Huston looked about as Chinese as his daughter - Katharine Hepburn!!
- Spencer Tracy, Cass Timberlane, 1946. MGM thought hard about Pidgeon as Sinclair Lewis’ judge Timberlane, marrying a girl from the wrong side of the tracks. Then, Tracy became free. Or dry. And Pidgeon contributed a cameo... as himself.
- Dennis O’Keefe, Dishonoured Lady, 1947. The producer was the star: Hedy Lamarr. That's why she chose John Loder as the lover she was accused of murdering. Great publicity as he was the third husband she was divorcing. When Walter (and later Herbert Marshall), couldn't agree terms to be her new doctor lover, she cut her “pattern” to suit her budget and settled for O’Keefe. Only his initials were OK.
- Judy Garland, The Pirate, 1947. Over the years, MGM aimed the Broadway drama at (a) the Minivers, Pidgeon and Greer Garson; (b) Garson, Cary Grant, Charles Laughton; (c) the Notorious couple, Grant and Ingrid Bergman; (d) William Powell and Hedy Lamarr. No one saluted. So, it was churned into a musical - with (f) a prancing Gene Kelly and an imploding Garland. Metro lost $2m. Including for the first time in any Hollywood budget, paying a shrink. For Judy.
- Errol Flynn, That Forsyte Woman (UK: The Forsyte Saga), 1948. Pidgeon and Flynn simply swapped roles. Flynn became the icy Soames Forsythe and Pidgeon, the warmer Young Jolyon (who pinches Soames’ wife). Author John Galsworthy’s celebrated title was changed because MGM did not believe Americans understood the word: saga.
- Spencer Tracy, Father of the Bride, 1950. After Jack Benny’s “terrible” test, Pidgeon, Charles Laughton, Fredric March, entered the frame as Tracy went through his usual ponderous routine of swift refusal, making suggestions, hating the first draft and more final alterations.. The book’s author, New York banker Edward Streeter, said he’d heard reports “ranging from Harpo Marx to Paul Robeson... Tracy is the one I wanted. As for Benny, I’d nominate Abbott and Costello. Better, I’d nominate myself.”
- Leo Genn, Quo Vadis, 1950. Took Hollywood 26 years to film Henryk Sienkiewicz’s 1895 epic novel about ancient Rome. MGM won the rights in 1925. And planned to shoot in 1935…or 1942… or 43… By 1950, Pidgeon was in the mix for Petronius. Instead, he became the ancient Rome epic’s narrator. Uncredited. No way to treat Mr Miniver!
- Fredric March, The Bridges At Toko-Ri, 1954. In the Paramount frame for William Holden’s boss, Rear Admiral George Tarrant, were: Pidgeon, Walter Abel, Humphrey Bogart, Spencer Tracy and even director William (Wild Bill) Wellman.
- Chill Wills, Giant, 1955.