Buzz finds irrefutable evidence that being Harrison Ford’s co-star isn’t just bad for your career, it can kill it stone-dead. Brendan Fraser’s about to appear in cinemas alongside Ford in Extraordinary Measures. Here’s hoping he can break the curse...
STAR WARS, THE EMPIRE STRIKES BACK, RETURN OF THE JEDI (1977-1983)
The franchise that propelled Ford’s career into the stratosphere – and he was in career-massacre mode right off the bat, leaving Hamill’s in a pulpy heap by the side of the road. “So why aren’t I Harrison Ford?” the man who was Luke Skywalker once barked to a reporter. “I don’t know – I’m just NOT.”
KAREN ALLEN, KATE CAPSHAW, ALISON DOODY
INDIANA JONES TRILOGY (1981-1989)
All three were plucked from obscurity to play Indiana Jones’ spunky/shrieky/rubbish leading ladies, but time spent with Ford doused any A-list prospects they had. OK, Capshaw married the director and Allen was lamely wheeled out for Indy 4 but all we can say is, beware Shia LaBeouf…
Ormond’s triple-whammy springboard to Hollywood fame and fortune started promisingly in Legends Of The Fall, held steady in First Knight – and then had its soul sucked out by the Ford succubus in Sabrina. Her explanation for hightailing it out of Hollywood? “I made a deliberate choice to step away and get involved in refugee issues.”
SIX DAYS, SEVEN NIGHTS (1998)
Hot off Donnie Brasco and Wag The Dog, Heche was hand-picked to be Ford’s latest screen cutie. It should have launched her up the Tinseltown ladder. Instead, woozy from the wreckage, she plunged straight into Psycho, a tell-all bio titled Call Me Crazy and ecstasy-fuelled freakouts which lead her to claim she was God’s daughter.
KRISTIN SCOTT THOMAS
RANDOM HEARTS (1999)
Everyone’s favourite cut-glass Brit was toast of the town after The English Patient and The Horse Whisperer. Hollywood thought it had found the new Julie Christie, until Ford lured Thomas, with a Dr. Evil cackle, into playing tonsil hockey with him in this energy-sapping romance. Those industry doors slammed shut as swiftly as they had opened.
K-19: THE WIDOWMAKER (2002)
Fresh from sending three leading ladies’ careers into deep freeze, Ford iced a genre next: the submarine thriller. Following in the buoyant box-office slipstream of The Hunt For Red October, Crimson Tide and U-571, K-19 instead perished in the ghostly fathoms. “Vee dee-liver or vee drown!” Ford’s rogue Soviet sub captain snarled to his men. They drowned.
HOLLYWOOD HOMICIDE (2003)
Hartnett was a chiselled heartthrob destined for Pitt-style superstardom. But as soon as he clashed with Ford in this cop-com, Josh’s career melted into a miasma of flops (Wicker Park, Lucky Number Slevin, The Black Dahlia).