Dolly Parton once revealed she turned down $7 million to play the villain in 1984’s Supergirl, saying she couldn’t bring herself to plan an “evil” character.
The singer and actor, beloved worldwide as the Queen of Country, died last month at the age of 80.
In the wake of her death, a 1992 interview with the Chicago Tribune resurfaced in which the “9 to 5” singer discussed her reasons for passing on the role.
“I will not play just an evil part,” she said at the time. “In fact, I got offered $7 million several years ago to play the part that Faye Dunaway played in Supergirl. I was kind of insulted. I was impressed with the money, but I said, ‘Why are you asking me to play an evil witch? Do I come across as an evil witch to you?’”
She added: “I’m sure I can be an evil witch at times. But that’s not my real nature, and I don’t have a desire to do anything like that.”
Although she was best known as a singer, Parton also enjoyed an acclaimed career as an actor. She made her screen debut in the 1980 workplace comedy 9 to 5, and went on to star opposite Burt Reynolds in 1982 musical comedy The Best Little Whorehouse in Texas and alongside Sylvester Stallone in 1984’s romantic comedy Rhinestone.
In 1989, she drew further acclaim for her work as part of an ensemble cast in Steel Magnolias. Her final screen appearance came in her own musical, Dolly Parton’s Christmas on the Square.
The 1984 version of Supergirl starred Helen Slater as the titular superhero. In the eventual film, she did battle with Dunaway’s campy villain Selena.
However, the film was not hit with critics or a box office success. The Supergirl character, who is Superman’s cousin within the DC Universe, eventually returned in a reboot earlier this year, played by House of the Dragon star Milly Alcock.
That film also drew mixed reviews, with The Independent’s Clarisse Loughrey handing it two stars and arguing that Alcock’s performance was the only bright spark.
“Alcock [is] alone at the film’s centre, still finding moments to shine, embracing both the aggro-sarcasm and tender vulnerability of a hero who doesn’t believe they’re a hero, but remains fundamentally good despite it,” wrote Loughrey. “If DC wants to secure her future, they need to find her a world where she belongs.”
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