SUPERSTAR Tom Cruise has joined the ranks of the unemployed. The Hollywood studio that bankrolls his films is not backing any more Cruise movies until he agrees to a significant paycut.

The 44-year-old actor is eager to get back to work to put behind him disappointments such as Mission Impossible: III, but last week his 13-year deal with the Paramount studio was allowed to lapse. Executives say Cruise faces a “financial adjustment and reality check” before he can continue his illustrious career.

Cruise fans fears that, unless the hardworking actor learns some humility, an illustrious career which has matured from the cocky boy of Risky Business and Top Gun to more naunced performances in The Last Samurai and Collateral may burn out. “Right now,” said an insider close to the negotiations, “he is simply too expensive to employ.”

Cruise is not the only star to suffer as Hollywood bosses cut jobs and get tough with expensive talent. Jim Carrey, Mike Myers and Reese Witherspoon are all “on holiday” with no immediate film in prospect, while Brad Pitt recently took a pay cut to play Jesse James.

Last week, soon after the arrest of Mel Gibson for drink driving, the studio crackdown reached younger actors such as Lindsay Lohan.

Lohan was publicly censured by her employers for refusing to put her work above her social life. Her mother said it was an “ungallant” attack on her 20-year-old, daughter who was just a “good girl enjoying herself”.

Studio executives are increasingly frustrated by hit films that leave them impoverished because the stars, as well as directors such as Steven Spielberg, have grabbed the biggest share of the profits. Cruise has become a symbol of the battle for power between studios and their stars, a struggle that dates back to 1919 when Charlie Chaplin set up his own studio, United Artists, to keep the lion’s share of profits from his silent comedies for himself.

Studios are feeling more bullish because many summer hits, from Cars to Superman Returns, have been driven by strong scripts and computer effects rather than celebrities.

Yet by all standards Cruise is a special case. For 20 years the diminutive star has earned the studios billions of pounds. Last year, according to Forbes magazine, he earned £35m from War of the Worlds, still a Hollywood record.

Since 1992 Paramount has paid Cruise-Wagner Productions, Cruise’s private film development company, up to £7m a year to base its office on the Paramount lot in Los Angeles. It also paid for 10 staff. In return Paramount gets the first bite at any Cruise film. Paramount has now refused to renew the deal on its current terms, effectively suspending its work on half a dozen future Cruise films.

Cruise, whose fortune is conservatively estimated at £250m, is meanwhile paying staff out of his own pocket and remains confident it will soon be “business as usual” at Cruise-Wagner Productions. But the abrupt demise of the current deal remains an embarrassing psychological blow after a turbulent year for “the Cruiser”.

Thomas Cruise Mapother IV has been battling to hold on to public affections since he decided to shed Pat Kingsley, his long-term publicity adviser who for years shielded him from controversy.

Kingsley would never have allowed him to appear on the Oprah Winfrey television show and jump on top of the couch while declaring his love for the young actress Katie Holmes.

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