Steve McQueen, known as the “King of Cool,” was one of Hollywood’s most iconic actors, famous for his rebellious spirit, rugged charm, and unforgettable performances.

Yet behind the scenes, McQueen’s career was marked by intense rivalries and feuds with some of the biggest names in the film industry.

These conflicts not only shaped his public image but also had a profound impact on his professional trajectory.

From Paul Newman to Elizabeth Taylor, Audrey Hepburn to Marlon Brando, and even John Wayne, McQueen’s battles with Hollywood legends became legendary themselves—sometimes overshadowing his talent and altering the course of his career.

 

One of the most shocking feuds in Hollywood history was between Steve McQueen and Paul Newman, two actors who were once close friends.

Newman, the polished and charming heartthrob, and McQueen, the rebellious anti-hero, seemed like the perfect pair.

However, jealousy, betrayal, and ego soon turned their friendship sour.

 

The turning point came in 1967 at the Beverly Hills Hotel during a gathering of Hollywood elites.

McQueen arrived late, his usual cool demeanor replaced by a glare filled with disdain directed at Newman, who sat calmly in a pristine white Dior tuxedo.

The tension was palpable, and it stemmed from a professional betrayal.

McQueen had originally been cast as the lead in *Cool Hand Luke*, but after Newman learned of this, he invited the film’s director and producer to his mansion, and within days, McQueen’s contract was abruptly canceled.

Feeling deeply betrayed, McQueen vowed never to appear below Newman’s name on any movie poster.

This rivalry escalated when McQueen demanded top billing over Robert Redford for *Butch Cassidy and the Sundance Kid*, a demand Fox refused, costing McQueen the role.

Their feud intensified during the filming of *The Towering Inferno* in 1973, where McQueen’s obsession with having equal or more dialogue than Newman led producers to hire a United Nations peacekeeper to prevent physical altercations.

The two clashed violently on set when McQueen kicked a door into Newman, causing him to suffer a concussion and file a lawsuit.

 

This bitter rivalry continued with petty acts such as McQueen sending an anonymous letter to Newman’s wife mocking his choice of roles.

The feud effectively ended any chance of reconciliation, leaving a lasting scar on both their careers.

 

McQueen’s feud with Elizabeth Taylor began with a single, biting comment at a 1971 Golden Globe afterparty.

Arriving late and unapologetic, McQueen loudly remarked to Taylor, “You don’t have to pretend anymore. Everyone knows that Oscar wasn’t for acting. It was for sleeping with Burton.”

The room fell silent as Taylor’s glass shattered, and though she didn’t lash out physically, she vowed to make McQueen pay.

 

The next day, the *Hollywood Reporter* published an exposé on McQueen’s history of sexist remarks.

While some quotes were exaggerated, the damage was done.

McQueen’s name was removed from the Oscar shortlist for *Junior Bonner*, citing vague negative feedback that many believed was influenced by Taylor’s power.

Soon after, the Cannes Film Festival rescinded his invitation.

 

Taylor’s influence marked the beginning of McQueen’s decline in Hollywood’s favor.

His reputation suffered, and he became increasingly isolated from major industry events and awards.

 

McQueen’s coldness extended to Audrey Hepburn during the script reading for *The Garden of Glass* in 1973.

When rehearsing a scene mourning a lost child, McQueen told Hepburn, “You don’t know what real pain is. People like you mimic emotions. You’ve never lived them.” The comment stunned Hepburn, who silently left the room, breaking their professional relationship.

Rumors soon circulated about Hepburn’s emotional distress and hospitalization for an apparent overdose, which many speculated was linked to McQueen’s harsh behavior.

Hepburn refused to work with McQueen again and demanded contractual clauses to avoid co-stars resembling him.

This feud further tarnished McQueen’s reputation as difficult and cold.

 

McQueen’s rivalry with Marlon Brando was less about professional competition and more about personal jealousy.

The conflict began in 1971 during the premiere of *Cloot* when McQueen arrived with Barbara Lee, a woman romantically linked to both men.

Brando, nursing a grudge, launched a stealthy campaign of seduction to win Lee over.

 

When McQueen discovered Brando’s advances, he confronted him at his mansion, leading to a physical fight witnessed by Brando’s assistants.

Both men sustained injuries, and security footage of the brawl made headlines.

The rivalry escalated with McQueen leaking damaging rumors about Brando, who retaliated with public insults, refusing to work with McQueen again.

This feud became one of Hollywood’s most infamous, with neither actor willing to reconcile despite attempts by directors to bring them together for projects.

 

Perhaps the most ideological feud McQueen faced was with John Wayne, the embodiment of old-school American values.

In a 1972 interview on the Dick Cavett Show, McQueen dismissed Wayne’s cowboy image, saying, “If being a man means wearing a cowboy costume, carrying a gun, and preaching about honor, then I’d rather be a bastard on the street.” The audience laughed, but Wayne was furious.

 

Wayne responded on *The Tonight Show* with Johnny Carson, criticizing McQueen for lacking the real-world experience of men who fought in war.

The media pounced on the feud, painting McQueen as immature and disrespectful to traditional American ideals.

 

This public battle damaged McQueen’s standing with conservative audiences and contributed to his growing alienation in Hollywood.

 

By the mid-1970s, McQueen’s feuds had taken a heavy toll on his career and personal life.

He lost roles, faced media backlash, and became known as difficult and egotistical.

His relationships with colleagues and friends deteriorated, and his personal life unraveled.

 

McQueen’s marriage to actress and singer Neile Adams ended in divorce in 1972, strained by his self-destructive behavior.

His coldness extended to his children, especially his son Chad, with whom he struggled to connect emotionally.

 

Despite the turmoil, McQueen continued acting, though his films received mixed reviews.

His bad-boy image, once a draw, began to wear thin with audiences craving something new.

 

In his later years, McQueen retreated from Hollywood, living a quieter life on his ranch in Mexico.

However, his personal demons, including alcoholism and substance abuse, persisted.

In 1979, he was diagnosed with lung cancer, a devastating blow to the man who had lived life on his own terms.

McQueen fought the disease with determination but passed away in 1980 at age 50. His death marked the end of an era, but his legacy endured.

He remains a symbol of rebellion and coolness, but also a cautionary tale of ego, conflict, and the price of Hollywood fame.

 

Steve McQueen’s Hollywood feuds were as legendary as his film roles. His battles with Paul Newman, Elizabeth Taylor, Audrey Hepburn, Marlon Brando, and John Wayne shaped not only his career but also the culture of Hollywood itself.

These conflicts revealed the darker side of fame—the egos, betrayals, and rivalries that often play out behind the scenes.

 

Though his career declined amid controversy, McQueen’s legacy as a Hollywood icon remains intact.

He was a man who burned bright and fast, never afraid to stand up for himself, even if it meant burning bridges.

His story is a complex blend of talent, rebellion, and tragedy—a reminder that behind the cool exterior lay a man wrestling with his own demons.

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