Kim Novak is voicing her concerns about Scandalous!
In a recent interview with The Times of London, Novak slammed Sydney Sweeney‘s casting as her in the upcoming film, following the Vertigo actress’ relationship with Sammy Davis Jr. in the 1950s. Colman Domingo is set to direct, marking his directorial debut. David Jonsson will portray Davis.
“I would never have approved,” Novak said of Sweeney portraying her, adding that the Euphoria actress “sticks out so much above the waist.”
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The publication noted that Novak’s criticism stems from her concern that the film will focus on the sexual side of their relationship rather than the fact that they had “so much in common.”
“There’s no way it wouldn’t be a sexual relationship because Sydney Sweeney looks sexy all the time,” Novak continued. “She was totally wrong to play me.”
Reps for Sweeney did not respond to The Hollywood Reporter’s request for comment at the time of publication.
Last year, Sweeney spoke with THR’s executive editor of awards, Scott Feinberg, on his Awards Chatter podcast about bringing Domingo on board. The pair previously co-starred on Euphoria, and Sweeney also serves as a producer on Scandalous!
“When I was putting the package together, we were circling different directors. There was one previously attached and I just felt like the story really needed to have a different voice,” she said. “The entire time I was like the only person who would really be able to tell this story and to the degree that it needs to be beautifully told is Colman Domingo.”
The Anyone but You star continued, “So I called him up and I was like, ‘Hey, I don’t know if you even want to direct, but there’s a script that I’d really love to send you. And if you like it, it’s yours. If not, I won’t be offended,'” she said. “He read it within like a few hours and he called me back and he was like, ‘This is exactly what I’ve been telling my team I want to find.’ We’ve been putting it together and raising financing — it’s been a labor of love.”
When asked if she’s met Novak, Sweeney didn’t answer directly but noted: “Colman and her have a really beautiful relationship. They’ve been talking. We connected them, so it’s been really cool.”
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Facts Only
Kim Novak criticized Sydney Sweeney’s casting as her in the film *Scandalous!*.
Novak stated she would never have approved of Sweeney portraying her.
Novak claimed Sweeney “sticks out so much above the waist” and is “totally wrong” for the role.
Novak expressed concern the film would focus on the sexual aspects of her relationship with Sammy Davis Jr.
The film is directed by Colman Domingo, his directorial debut.
David Jonsson is cast as Sammy Davis Jr.
Sydney Sweeney is a producer on the film and previously starred with Domingo in *Euphoria*.
Sweeney recruited Domingo after feeling the project needed a different director.
Sweeney stated Domingo read the script quickly and expressed enthusiasm for the project.
Sweeney mentioned that Domingo and Novak have a positive relationship and have been in communication.
Representatives for Sweeney did not respond to requests for comment.
The film is currently in development, with financing being raised.
Executive Summary
Kim Novak has publicly criticized the casting of Sydney Sweeney in the upcoming film *Scandalous!*, which explores Novak’s 1950s relationship with Sammy Davis Jr. Novak expressed disapproval of Sweeney’s portrayal, stating she “sticks out so much above the waist” and that the film would inevitably focus on the sexual aspects of their relationship due to Sweeney’s public image. The film is directed by Colman Domingo, marking his directorial debut, with David Jonsson playing Davis. Sweeney, who also serves as a producer, brought Domingo on board after feeling the project needed a different creative voice. While Sweeney has not directly addressed Novak’s comments, she previously noted that Domingo and Novak have a positive relationship and have been in communication. The film is currently in development, with financing being raised.
The dispute highlights tensions between artistic interpretation and the portrayal of real-life figures, particularly regarding how personal relationships are framed in biographical projects. Novak’s concerns suggest a desire for the film to emphasize the intellectual and emotional connection she shared with Davis rather than sensationalizing their romance. Sweeney’s involvement as both star and producer adds another layer, as her creative vision may differ from Novak’s expectations. The situation remains unresolved, with no public response from Sweeney’s representatives at this time.
Full Take
The strongest version of this narrative centers on the tension between artistic license and the portrayal of real-life figures, particularly when those figures are still alive and have strong opinions about their representation. Novak’s criticism is rooted in a legitimate concern: the potential reduction of a complex relationship to its sexual dimensions, especially given Sweeney’s public persona. Her comments also reflect broader anxieties about how women in Hollywood are often framed—either as sexual objects or as icons resistant to such framing. Sweeney’s dual role as star and producer complicates this, as her creative control may clash with Novak’s personal legacy. The fact that Domingo and Novak have reportedly been in communication suggests an attempt to bridge this gap, though Novak’s public rebuke indicates unresolved friction.
Patterns detected: **ARC-0024 Ambiguity** (Novak’s critique hinges on an implied but unstated assumption that Sweeney’s casting inherently sexualizes the role, without concrete evidence of the film’s direction), **ARC-0043 Motte-and-Bailey** (the debate oscillates between a specific casting choice and broader concerns about Hollywood’s treatment of women’s stories).
The root cause here is the collision of two paradigms: the biographical film’s need for dramatic engagement and the subject’s desire for narrative control. Historically, this echoes disputes like Audrey Hepburn’s family objecting to portrayals of her life or the backlash against *Blonde* for its fictionalized take on Marilyn Monroe. The implication for human agency is clear—public figures often lose control over their own stories once they enter the cultural imagination. The cost is borne by Novak, whose legacy may be reshaped against her wishes, while the benefit accrues to the filmmakers and studios capitalizing on the controversy for publicity.
Bridge questions: How should biographical films balance artistic freedom with the subject’s right to dignity? What responsibilities do actors and producers have when portraying living individuals? Would Novak’s objections carry the same weight if the film were framed as a fictionalized account rather than a biopic?
Counterstrike scan: If this were a coordinated influence campaign, the playbook would involve amplifying Novak’s criticism to generate outrage, framing it as a generational or ideological clash (e.g., "old Hollywood vs. new Hollywood"), and using the controversy to boost the film’s profile. However, the actual content does not match this pattern—Novak’s comments appear genuine, and the coverage remains focused on the substantive disagreement rather than manufactured division. The lack of a coordinated pushback from Sweeney’s team further suggests this is an organic dispute, not a staged narrative.