1940: Gable vs. Crawford

Gable vs. Crawford

Screen Guide, February 1940

Joan Crawford didn’t like Clark Gable on the morning when she picked up a paper and read that he had refused to play opposite her in “Not Too Narrow, Not Too Deep.” In fact, she burned up. Particularly since Gable got his start with her in “Dance Fools Dance.” He had done six pictures with her, and none had hurt his popularity, so why was he squawking?

This situation had all the makings of a feud which might have become historic. Joan carried her peeve to the studio. The nation’s reporters picked up the columnist’s report which Joan had seen, warmed it up and served it again.

At this time Joan did not know that Gable had called the columnist and demanded a retraction. Visitors on their set soon noticed that they were not too chummy. This caused more stories. These stories made Creen Guide’s editors investigate. They found these facts.

Gable originally had not liked this new role. He didn’t like being an out-and-out heel throughout the entire film. He beefed. So writers got busy, revamped his role, saved his screen character with a last minute regeneration and retitled the picture “Strange Cargo.” Clark thus got over his objections before the feud story even started. When the situation was ironed out by revealing this to Joan, she said, “It’s not so funny what gossip can do, and it’s a devil of a note when an actress must either be in love with her leading man or else hate him!”

Fly-by-night feuds like this are not uncommon among picture people, but permanent hates are really very rare—no matter what you read in a sensation-minded picture magazine. The first bitter imbroglio in movies occurred years ago, and involved Eric von Stroheim and Mae Murray. Von, directing her in “The Merry Widow,” decided it would be a great idea to have a cigarette actually shot out of her mouth. She vowed she would never work with him again.

Today such foolishness is ruled out by business methods, but trouble still brews sometimes. Katy Hepburn and Ginger Rogers had a disaffection because Hepburn leaned out of a window one day as Ginger was passing and doused her with water, just as a gag. Later the two appeared together in “Stage Door,” and remained icy.

Olivia de Havilland, for a long time, was not too happy about appearing with Errol Flynn. Her reason was logical enough: he got all the best scenes; she was just a stooge. Most antipathies between stars are the outgrowth of such constant teaming. Sooner or later one or both members of a team will feel the pinch. Fred Astaire used to be the main objector to costarring with Ginger Rogers. If he clicks with Eleanor Powell he will have proved himself right. Ann Sothern and Gene Raymond hardly had a civil word for each other after swooning in each other’s arms for the cameras. Jeanette MacDonald and Nelson Eddy patched things up.

Frequently stars start out as enemies, and end up as friends. That can work the other way, too. In “Mr. Smith Goes to Washington,” Jimmy Stewart had all the choice scenes, for the first time in years. Jean Arthur was secondary. Do you think she’ll want to co-star with Jimmy again? That’s right—you’re—well—ask Kay Kyser.