Payday Loans
Tony Curtis (1925-2010)

  1. Rock Hudson, The Golden Blade, 1952.   Universal called it an Eastern. ‘Twas set in ancient Basra. With Anita Ekberg as a hand-maiden and Hudson (rather than Curtis or Farley Granger) as Harun Al-Rashid  (or, if you will, Hamlet) out to avenge his father’s murder. With the magic sword of Damascus instead of pensive soliloquies.  Much  more fun than expected.  In earlier years, Hudson and the then Anthony Curtis had support roles in I Was a Shoplifter, 1949.  Next time they filmed  together was  the starry casting for Agatha Christie’s The Mirror Crack’d… 31 years later!
  2. Robert Wagner, Prince Valiant, 1954.    One famous hair-style should not be hidden inside another!
  3. John Derek, The Ten Commandments, 1954.  
  4. Audie Murphy, To Hell and Back, 1955.    The WWII hero backed off, worried people would think he was “cashing in” on his fame as America’s most decorated soldier. “I don't think I'm the type.  Maybe Tony Curtis would do.” No, because Curtis looked like a hero, while it was difficult to imagine the skinny, shy Murphy killing 240 German soldiers, wounding and capturing heaps more and winning the Congressional Medal of Honor, highest bravery award that a USoldier can receive. No, said Universal we want you and it took 20 years and Jaws to finally score better at the box-office.
  5. Farley Granger, The Naked Street, 1955.     n Independent producer Edward Small was thinking big. He wanted Bogie and Tony Curtis as the racketeer and his son-in-law. He got Quinn and Farley Granger. And lousy reviews.
  6. Elvis Presley, King Creole, 1957.     Imagine Presley’s rapture at winning a role once aimed at his idols: Marlon Brando and James Dean! Before the Harold Robbins’ hero was tailored to suit Elvis, other potential Danny Fishers were: Curtis, John Cassavetes, Ben Gazzara, Paul Newman, Gerald O’Loughlin. In his fourth, favourite and best movie, Presley never let his idols down. “Good comic timing,” noted the LA Times, “considerable intelligence and even flashes of sensitivity.” Sadly never again. After this, the US Army cut his hair and his manager, Colonel Parker, castrated the rest.

  7. Dean Martin, Rio Bravo, 1958.
  8. Ricky NelsonRio Bravo, 1958.

  9. Charlton Heston, Ben-Hur, 1958.     For  the MGMighty $5m epic re-make, the favourite for the hero was a disinterested  Brando. Director William Wyler (one of the original’s 1924 crew) also studied Italians Cesare Danova and Vittorio Gassman. Plus Curtis, Montgomery Clift, Kirk Douglas, Rock Hudson, Johnson (no, really!), Burt Lancaster - and Edmund Purdom, who had picked up another epic dropped by Brando, The Egyptian, 1953.  Curtis and Douglas went off to Bavaria to make their own epic: The Vikings (and another, Spartacus, 1959).   Judah Ben-Heston  won his Oscar on April 4 1960.
  10. Jack Lemmon, Some Like It Hot, 1958.     For some time it was Curtis and Frank Sinatra as the two jazzmen on the lam from gansgters... hiding out in   an girls’ band. Not a great idea as they’d just finished Kings Go Forth - so first shots of them in drag would bpund to be headlined: Queens Go Forth.  Once Wilder landed Jack Lemmon, the director  immediately switched his stars. Lemmon was no longer Joe the randy sax player nor would Curtis be Jerry the earnest, adaptable and wacky bassist. And a  100% perfect comedy was born.
  11. Audie Murphy, The Unforgiven, 1959.     Burt Lancaster suggested Tony (after making Trapeze and Sweet Smell of Success with him).  “But I’d just  been a  racist in The Defiant Ones.” John Huston called his Red Badge of Courage star for his third major film only in a 21-year career,  ending as it began  as  a B-movie Jesse James. Whatever turned on Huston about  the Ben Meddow scenario did not  transfer to the screen.
  12. Larry Blyden, What Makes Sammy Run?, TV, 1959.
    It was 1955 and the the mighty agent Lew Wasserman, warned off clients Curtis and  Eddie Fisher, from Budd Schulberg’s 1941 roman-a-clef about hack reporter Sammy Glick lying, cheating,  backstabbing his way to the  top of Hollywood’s power game. What Fisher called the ultimate Jewish hustler was a classic negative Jewish stereotype that pissed off Wasserman (and Sam Goldwyn who’d tried go stop publication). It was too close for their comfort.  So they even implied anti-Semitisim, which the Jewish author Budd Schulberg scoffed at - “Sammy’s  victims were also Jewish.” (It’s like calling any Robert Madoff project, anti-Semitic). Budd (and Stuart) Schubert’s script was divided into two halves for Breck’s Sunday Showcase on NBC in 1959,  Delbert Mann directing Larry Blyden (who?) as Sammy.  First dramatised on TV in 1949, with José  Ferrer, the book became a Steve Lawrence musical on Broadway in 1964.  But as for the cinema? Nada!   “Sinatra nearly happened once,”  Budd  told me at a Deauville festival, when he could see only Tom Cruise as  Glick. “Steven Spielberg said it was anti-Hollywood and should never be filmed,” laughed Budd. Yet, Spielberg’s DreamWorks bought  the rights for Ben Stiller to actor-direct. Or,  to block it, for ever more. Which  is exactly what happened between 1992-2009 - and ever since!  : Curtis  made it anyway, only his version was Ernest Lehman’s Sweet Smell of Success, 1956 ,when his memorable role of  Sidney Falco was Sammy  making a comeback under another name. 

  13. Geoffrey Horne, Giuseppe venduto dai fratelli/The Story of Joseph  and His Brethern, (UK: Sold Into Egypt), Italy-Yugoslavia, 1960.     Planned for Curtis (and Rita  Hayworth) in the 50s.  Clifford Odets first wrote it for Cary Grant.  Frank Capra was working on another version when Columbia's chief died and “it was  cancelled before Harry Cohn's body was cold.”  Finally  made  in Italy with the young Columbia  find who’d  saved David Lean from drowning during The Bridge on the River Kwai. (Omar Sharif said he was signed to double the star on Egyptian locations ... before any  star  had been signed).    
  14. Paul Newman,  The  Hustler, 1961.     “Couldn’t do it because of another movie.”
  15. George Peppard, Breakast At Tiffany’s, 1961.     When  director John Frankenheimer was prepping it for Marilyn - before Blake Edwards took over because fional, choice Audrey Hepburn had never heard of Frankenheimer. Blake called Curtis back for The Great Race, 1965 - their fourth partnership   after Mister Cory, 1957,  The Perfect Furlough (UK: Strictly For Pleasure), 1958, and Operation Petticoat, 1959.
  16. Rock Hudson, Lover Come Back, 1961.  The suavies - Tony Curtis and his idol Cary Grant – were being called for Doris Day’s new screen lover. Until co-producer Stanley Shapiro (on of the writers of this and the previous Pillow Talk, 1959) said: “Wait a minute it’s for Doris and Rock.” Of course it was. It became the second of their three rom-coms (all  rjffs on the Doris-Clark Gable Teacher’s  Pet) enabling Doris to change image she said, to “a new kind of sex symbol - the woman men wanted to go to bed with, but not until they married her.” 
  17. Dean Martin, What A Way To Go! 1963.    A certain Louisa May Foster takes her shrink through her five late husbands - every one a laugh. (If only). Prepared for Marilyn Monroe before her tragic death, I Love Louisa  was given to Elizabeth Taylor and, finally, Shirley MacLaine. In the Liz line-up, Curtis was booked for Hubby #1, a department store mogul called  Lennie Crawley, no less. Normally this is where  I add:  You can never go wrong with a Crawley. Not this (terrible) time!   
  18. Marlon Brando, Bedtime Story, 1963.    Or, King of the Mountain, when the comedy’s  con-men went from Cary Grant-Rock Hudson to Cary Gant-Tony Curtis to Rock Hudson-Warren Beatty to finally – incredibly! – David Niven-Marlon Brando. For  the 1988 re-hash, Dirty Rotten Scoundrels, they became Michael Caine-Steve Martin.
  19. Paul Newman, Lady L, 1965.    An exit of  Houdinian skill.   “I bought one share in MGM stock and threatened to sue as a minority stockholder for mismanagement of the studio unless they released me from the contract.  They  did....  Terrible  script!  I just couldn’t  do it...  even though they’d paid  me $400,000 while hanging about, waiting  for it to  start.’      Curtis and Gina Lollobrigida became, once  producer Carlo Ponti  heard about  it, Newman and Sophia Loren.
  20. George Segal, King Rat, 1965.     "Just wasn't available," he told me.

  21. Doug McClure, Beau Geste, 1966.    With  beau Dean Martin, Tony as brother John and Charlton Heston as the brutal sergeant Dagineau. Then, Universal went cheaper.
  22. Marcello Mastroianni, Lo straniero/The Stranger, Algeria-France-Italy, 1966.  French superstar Alain Delon and maestro Luchino Visconti  had already worked together on stage on stage and screen.So now surprise when they announced plans to film Albert Camus’ ennui-filled novel  (L’Étranger, 1942). Visconti  planned to " really film the book."  Producer Alfredo De Laurentiis wanted more drama -  "accentuate the colours" - and told Delon to choose: "Him or me."  Delon chose home."The biggest regret of my life - of my career!"Visconti was considering two Hollywoodians, Tony Curtis and George Chakiris, when De Laurentiis said: “Why not Marcello?”  Bingo!
  23. Albert Finney, Two For The Road, 1967.  Originally, Audrey Hepburn’s husband was American and rejected bv Paul Newman and (so he claimed in his 12008 auto-bio) Tony Curtis.  Then, he was nearly Michael Caine before Albie rushed to work with the glorious Hepburn in Stanley Donen’s delightful take at love and marriage, written by Frederic Raphael.  
  24. Omar Sharif, Funny Girl,1968.      Tony was all set for Nicky Arnstein - until understanding that the on-screen emphasis would be 99.9% on Barbra Streisand. 
  25. Elliott Gould, The Day They Raided Minsky's, 1967. Not fully in love with “the major musical comedy about the last days of burlesque.” Curtis was keen but “you gotta tell Norman [Lear, co-producer and scenarist] to put some meat on the bones.” Curtis didn’t wait. He became The Boston Strangler, giving up on April 19, 1925… the day they (say they) invented strip-tease in New York.
  26. Richard Chamberlain, The Count of Monte Cristo, TV, 1975. The cousins from Hell, Golan & Globus (not yet Cannon),  planned it in ’74 after  making Lepke with Curtis. When the project moved, he stayed on as the villainous Count Mondego.  “Anybody in this business should take any job he can get.”
  27. Roger Moore, Gli esecutor (US: Street People; UK: The Sicilian Cross),  Italy, 1975.     Director Maurizio Lucidi seemed to like The Persuaders, TV, 1971.  And if he couldn’t get Danny Wilde, he’d make do with Lord Brett Sinclair - who also happened to be a certain Commander Bond. 
  28. Richard Chamberlain,  The Man in the Iron Mask,  TV, 1977.     Also announced in ’74.  “I’d decided to make a few pictures for young people before I get too old.”
  29. Oliver Tobais, The Stud, 1977.  Earlier in the 70s, Tony Curtis agreed to play the titular louse opposite Joan Collins in the movie of her sister Jackie’s soft-porn book. The project never flew. (Well, Curtis was 46 at the time, bit old for a stud). Next choice was Paul-Michael Glaser. He was still stuck in Starsky and Hutch (Joanie had guest-starred in the 1977 Voodoo Island episode).  Finally, Tobias, a Swiss-born  and cheap Brit, was put to stud.  “He thought he was the Second Coming,” said Joanie. “It ruined my career,” he complained. Big hit though.  As Collins rescued her career by giving her fans what they’d been hoping to see for 23 years -  Joanie swinging naked on a trapeze… as she had been forbidden to do in the stuffy ‘54-Hollywood version of The Girl on the Red Velvet Swing
  30. Warren, Beatty, Bugsy, 1991.  The film that started Curtis’ decade-long cocaine battle… This was not the Beatty script, of course. But the same Jewish gangster Benjamin “Bugsy” Siegel, credited with creating Las Vegas. Curtis was due to play him in 1967. Instead, six years later, he tackled another Jewish hood, the infamous Murder Inc chief, Louis Buchalter, in Lepke - which featured a Bugsy played by (wait for it) Clement von Frankenstein. In vogue in ’91, Bugsy Siegel was also played by Armand Assante in The Marrying Man and Richard Grieco in Mobsters.
  31. Terence Stamp, The Adventures of Priscilla, Queen of the Desert,  Australia,  1994.     An even more obvious  idea than Tim Curry, leggy Dr. Frank-N-Furter as Mitzi - greatly improved upon by Stamp.

  32.  Colin Farrell, Phone Booth, 2001.  
    After about 30 years of B-pix, directing 18 of them, Larry Cohen moved from B to A List scripter at 58. “I wrote the character of a small-time hustling publicist.   I patterned him on Tony Curtis in Sweet Smell of Success and even had Tony ready to star but…   It took 40 years to get his suspenser made. Alfred Hitchcock wanted it in the ’60s, but neither man could work out why the hero stayed trapped in the titular box. By the ’90s, Cohen found the (all-American) idea of a sniper - threatening to shoot the hero if he left the booth. Director Joel Schumacher talked to Jim Carrey when they made Batman Forever, 1994, then Mel Gibson, Will Smith, Mark Wahlberg and, finally, the young Irish lad he’d made into a sudden star with Tigerland, 1999. But young film fans with their cell phones, didn’t know from … whaddyer call ’em again… phone booths? Cohen heard them and brought his tale up to date as Cellular for Kim Basinger and Chris Evans in 2003.

  33. Earl Schuman, Stacy’s Mom, 2009.   Californian auteurPatrick Sayre said one of his pre-production highlights was when Tony Curtis, impressed by what he’d been hearing about the script, offered to play the cameo of a history teacher. Some reports add "allegedly"  to this nugget. Others suggest Curtis couldn’t have been that smitten or he would have cut his fee to make it happen. The low budget coudn’t afford him, even for a day, in the tale of  four prepubescent  lads falling in lust with a pal’s mother: Brittney Powell. Curttyis died, at 85, two months after the film opened in 2010.
  34. Jack O’Connell, Unbroken, 2014.   Laura Hillenbrand’s book was sub-titled: A World War II Story of Survival, Resilience, and Redemption. The hero, Louis Zamperini, required such attributes again during a 54-year wait for his incredible story to be filmed. Universal bought rights in the 50s for Curtis to make after Spartacus. Who better for the Depression Era trouble-maker becoming the youngest American competing at the 1936 Berlin Olympics, crash-landing in the Pacific during WWII, drifting for 47 days in a crowded boat, then enduring unimaginable torture from brutal Japanese guards as a POW (they never broke him). More recently Nic Cage was keen. Then, Angelina Jolie took over the project as director and turned the rising UK Skins find, O’Connell, into Zamperini… who saw a rough-cut on Jolie’s laptop weeks before he died in hospital from pneumonia at age 97 on Juy 2, 2014 The film opened four months later.


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