Stephen Boyd in ‘Lady Dracula’, 1977

To celebrate Halloween, here is a tribute to a later Stephen Boyd movie where he actually gets to play a vampire! Lady Dracula was filmed in Germany sometime in 1976  during a period where Stephen filmed a few German-made movies in a row (Potato Fritz with Hardy Kruger, and the impossible to find Frauenstation). Stephen appears as Count Dracula in this movie during the opening credits for about 5 minutes worth of action as he abducts a young girl from the safety of her room (and school mates). She becomes a vampire herself, and the rest of the movie follows her awakening in modern times. She is played by the stunningly gorgeous Evenlyne Kraft, who has a serious penchant for anything yellow. Her yellow wardrobe is probably the highlight of the film! Anyway, obviously Boyd was just cashing in a check here, but it is fun to see him as one of the archetype villains – a vampire! Count Dracula himself!

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Messala: The Return from Ruin: A Sequel to Ben Hur by Lois Scouten

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Since the new Ben Hur for 2016 was so utterly disappointing, I wanted to point out a great book to both Messala and Stephen Boyd fans that you may not know exists! Yes, someone actually wrote a sequel to Ben Hur! And it’s actually about Messala! Now, unless you have read the actual book by Lew Wallace, a sequel with Messala makes no sense because in William Wyler’s 1959 epic, Messala dies (quite magnificently). In the novel, he dies too, but not actually before the eyes of Judea Ben Hur,  but by word of mouth from a character in the novel, Iris, who usually gets eliminated from all the movie versions (except the 1929 version). So in Lois Scouten’s book, she describes what really happens to Messala and Iris, who actually become a couple in Lew Wallace’s original novel after Messala is crippled after the chariot race. I won’t go into too many spoilers, but Lois Scouten does a wonderful job in describing Messala, his personality, his road to recovery from his crippled condition, meeting Judea Ben Hur again, dealing with the intrigues of the Imperial Court of Tiberius near Capri, and eventually earning back Judea’s trust. It’s a really fun read, especially since it’s told from Messala’s first person point of view! So don’t let the bad, new version of Ben Hur get you down- go order this book on Ebay or Amazon and just imagine Stephen Boyd and Charlton Heston gracing the movie screen once again in a Ben Hur sequel!

 

Stephen Boyd and Tyrone Power in “Abandon Ship!”

Stephen Boyd was fortunate enough to get to work with one of Hollywood’s most renowned matinee idols Tyrone Power (https://en.wikipedia.org/wiki/Tyrone_Power) in 1957 when he filmed “Abandon Ship!”.

Tyrone Power was one of 20th Century Fox’s biggest stars. “Abandon Ship!” is a very exhilarating movie about a group of people who are stuck on a tiny little boat after a large ship wreck. Tyrone does a great job as the man in charge who is forced to make very serious and not so popular decisions concerning the lives of everyone on board. The was one of Stephen’s first roles after “The Man Who Never Was”. He looks dashing in his sailor suit!  Richard Sale, the man who would pen the novel for Stephen’s later movie “The Oscar”, was the director of this film.

Sadly, Tyrone Power would pass away about a year after making this movie. He, like Stephen, would also die young (44) from a heart attack. He is buried at the Hollywood Forever Cemetery in Hollywood, California.

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Stephen Boyd and Anna Gaylor in “Seven Thunders” (The Beast of Marseilles)

Stephen met French actress Anna Gaylor in 1956 while filming “The Beast of Marseilles” for Rank films. According to Modern Screen in 1960 and other sources, the two became very close. Anna even looks a little like Stephen’s first petite wife Mariella Di Sarzana.

He made a picture called Seven Thunders with French actress Anna Gaylor and lightning struck them both. Anna, -who still acts in Paris, is in Steve’s words, “beautiful, fascinating and a true artist.” The liaison lasted for 18 months and Steve still hasn’t forgotten Anna. In fact, he still writes her now and then. Like all romantic involvements since, it ended without hard feelings. “It always comes to the point where either you do or you don’t,” explains Steve simply. ”Anna and I reached that point and we made the right decision. But she was very, very good for me.”

Below, from Inside Story magazine.in 1960:

Here are some pictures and posters from “The Beast of Marseilles”, which also happens to be Stephen’s first true starting role!

A Candid Stephen Boyd Interview from 1969

Stephen Boyd Explains His Lousy Movies

The Journal News – White Plains New York, 09 Jul 1969

 

By Bernard Shaw

 

New York – Stephen Boyd was in town briefly to publicize “Slaves” in which he plays a plantation owner and which was to open in a few days. I hadn’t yet seen the film when its publicist called and asked if I cared to meet Boyd. I hedged and said that the only burning question I had for him was why he made so many lousy pictures.

 

“Ask him that, “ the publicist urged. “I did and found that he’s very bright and articulate and he has no illusions about the business. He’ll speak candidly about anything.”

 

I agreed to see him, the date was set, and in the meantime, I attended the premive of the 70-mm elongation of “Ben Hur” in which Boyd had played Messala way back in 1960, and I found, to my surprise, that his was by the far the best performance in the film.

 

He had managed to endow an almost impossible villain with so much humor and intelligence, even sympathy in his 27 minutes out of a total of four hours on screen, that he rather threw the whole marathon epic out of kilter. I even found myself hopelessly rooting for him to win the chariot race against the archangel Heston.

 

I meet Boyd a week later in his suite at the Elysee, still not having seen “Slaves.” He is a tall, handsome Irishman from Ulster – Belfast is his home- and he was dressed in conservative black, having some kind of semiformal luncheon to attend later on.  He had a ruddy bloom on his cheeks all the Irish seem to have when they arrive here, but lose too soon. His sole concession to the now look was an elegant guardsman moustache.

 

After the usual amenities, my first question, predictably, was “How come you’ve made  so many lousy movies?”

 

“20th Century Fox,” he answered immediately, “20th Century Fox. I was under contract to them- chattel- and if you think and you are correct in thinking, I made so many lousy movies, you should see what I turned. Down. I was under contract with them for eleven, which should give you some indication of how many suspensions I took.”

 

Why did he ever get himself involved in such a situation? Simply because at the time the contact was waived before him, it seemed like mana from heaven. He comes from a large, poor family in Belfast, and at the age of seven he went on Ulster Radio’s Children’s Hour because the family needed the money.

 

At sixteen, he left school and broke with the family trade – which his father and brothers all practiced – truck driving, to work with the Ulster Theater Group, and then there were long, fruitless years in stock companies in Canada and the United States where he made alarming progress getting nowhere.

 

In 1952 in London, where he had gone to storm the British theater, he was literally starving, and reduced to playing his guitar and “busking” to the cinema queues in Leicester Square for pennies.

 

That did lead to a job as doorman of the Odean Cinema which in turn led to his becoming an usher and then to his meeting Michael Redgrave who gave him an introduction to the Windsor Repertory Theater and the Midlands Theater Company and several more years of playing all kinds of roles in addition to some small parts in British films.

 

So that when 20th Century Fox, impressed with his performance in “The Man Who Never Was, “ offered him a Babylonian Captivity, he had to accept.

 

“I don’t know how I lasted,” he said, “And I’m about the only one of the bunch of white hopes who came in when I did, who did last – there were Bradford Dillman, Stuart Whitman, Bobby Wagner – they put you in anything they want to and  there’s nothing you can do about it. When you try to speak to them, you’re told you’re a tax deduction. It isn’t so much a question of your making money for them but your’e enabling them to save money. You mean nothing.”

 

“But you’ve been living in Europe these last few years,” I said.

 

“I’ve been a resident of the United States,” he said, “ and a United States citizen for the last ten years. My home is in Los Angeles. Of course I never see it. They keep shipping me abroad which is another way of their being able to make money on you.”

 

“Were you forced to make things like ‘The Oscar’ and ‘The Caper of the Golden Bulls?’ ” I asked.

 

“I would do ‘The Oscar’ again with the original script I saw, but not with the people involved in it,” he said, “and I would do ‘Caper of the Golden Bulls’ again, but not with people involved, and many others which turned out so badly.”

 

“And ‘Slaves’ is different?” I asked.

 

He nodded, “You’ll search a long way before you find a more technically imperfect film, but that’s not what we were trying to do. We were trying to make the first true picture of slavery in America, and we did.”

 

“At least it’s an original of the Irish Rebellion,” I said, “I saw Sidney Poitier’s ‘The Lost Man’ which is an adaptation of ‘Odd Man Out’ and it’s terrible.”

 

“Sidney can’t do what he wants, superstar though he is, “ Boyd said. “He can do what he wants provided that it’s salable amd makes money. Remember, he and Jim Brown knocked themselves out, but they made it as personalities, not as blacks. The black problem was still an untouchable on the screen prior to ‘Slaves’ because the few films made that touched on the problem didn’t make money. But we’re breaking records everywhere we opened, and that’s where it counts with those boys. Will it make money?”

 

I asked him about some of his earlier films, about his brilliant but aborted Nimrod in John Huston’s “The Bible.” The role ended in the middle of nowhere.

 

“I had just made the test of Huston and had been on the film for only a couple of days when Fox yanked me off to make ‘Fantastic Voyage.’”, Boyd said. “I assumed they were going to junk what I did or do it over with someone else, but later on, Huston decided to use what little he had, so of course, the actor is blamed for it. You have to make compromises all the way. Big ones on the big picture, smaller ones on the smaller ones, you even have to make them on the good pictures, and I saw the hell with it.  You can make a lot of stupid pictures that make a lot of money, so why eat your heart out?”

 

I wondered if he was looking for a stupid picture now, but I asked instead, “Why did you bow out of ‘Cleopatra?’”

 

“They changed the story on me, “ he said, “When I was scheduled to do it, when Mamoulian was supposed to direct, Peter Finch was to play Caesar and I, Anthony, and it was the story of Caesar and Cleopatra an then Anthony and Cleopatra. But then it became just the story of Cleopatra, “ he shrugged.

 

“And you let Richard have it, “ I said.

 

“I let Richard have it, “ he said.

 

“How come you don’t return to the theater?” I asked, “Isn’t it more satisfying for an actor?”

 

“From an ego point of view, yes, “ he said, “but films could be satisfying too for an actor is he was involved in the creation. We all make a picture together, but nobody talks to anybody. Nobody will sit down and discuss it beforehand, and you never do discuss it – with very, very few exceptions- unless some crisis occurs. The cameraman is off creating his mood, the actor is creating his mood, the set designed only worries about how his set looks, the costume designer, her costumes.”

 

He shrugged “It’s no wonder so few things turn out well. If I did do a play, I’d like to do O’Casey. ‘Juno and the Paycock.’ But it would have to be played right, as it was originally in Ireland. The first two acts are comedy and the last, tragedy. You have to be very careful about the way you do Irish drama. There are so many misconceptions abroad about Catholic and Protestant in Ireland. I heard Bernadette Devlin’s maiden speech in Parliament and I was deeply moved. She was elected, remember, in a predominantly Protestant community, and she said, “There is not a religious question in Ireland. It is simply a question of poverty.”

 

“Of course, that was distorted in all of the foreign press,” Boyd said angrily, “Nobody had it right but the London Times. Of course it’s a question of poverty in Ireland, and people everywhere was so ignorant of the situation. Only yesterday someone said to me, ‘But you’re Catholic,’ and I said, ‘No I happen to be Protestant, but what has that to do with it?”

 

“I come from an Irish family, the youngest of nine. My father was a truck driver. When he retired, he was at the height of his earning power. He was making six pounds a week, that’s about thirteen dollars. How the hell are a man and his wife and nine children going to live on thirteen dollars a week?”

 

Then he grew less angry and he said, “And then I think of something O’Casey said when I did ‘June and the Paycock’ in Belfast and he came up to see it. He said, ‘There are many, many, many noes in the world , but there is always a bigger yes.’”