Stephen Boyd and Françoise Dorléac in “Genghis Khan” 1965

One of my favorite Stephen Boyd co-stars is the mysterious and charming Françoise Dorléac. She was the elder sister of French actress Catherine Denueve (They starred jointly in “The Young Girls of Rochefort”). Françoise was the initial star of the pair, and she herself was featured in a handful of films, but she was very memorable in each one. She was in a great action-comedy called “The Man from Rio” with Jean-Paul Belondo, a Truffant drama called ‘Soft Skin’, one of the Harry Palmer Michael Caine spy movies called ‘Billion Dollar Brain’, a spy spoof with David Niven, and the brilliant Roman Polanski film ‘Cul De Sac’ with Donald Pleasance.  But as a major international release, ‘Genghis Khan’ with Omar Sharif and Stephen Boyd was an important movie for her. In the film, sporting luscious blond bangs, she plays a Mongolian princess Bortei. (I know, she is not remotely Asian, nor is anyone else in this movie, which makes it so quirky!). She does a marvelous job as the strong-willed yet still vulnerable beauty who comes between Boyd, the ruthless villain Jamuga, and Sharif, who plays the ‘hero’ as the quite reformed Genghis Khan. Jamuga’s abduction of Bortei and the subsequent chase, fight and rape scene across the fur carpets of his Mongolian yurt, with Dorléac kicking and gasping, is a brutal but very memorable scene. Jamuga is definitely one of Boyd’s most entertaining and ruthless screen villains, and as Bortei bears his son, it makes for even more drama later in the film between Jamuga (Boyd) and Genghis Khan (Sharif).

Sadly, Françoise Dorléac died in a gruesome car accident in the south of France at the age of 25, cutting short what could have been a most fascinating career. She has been staying with her sister Catherine Denueve in St. Tropez, and on a rainy morning, June 26, 1967. she took off in her blue Renault with her pet Chihuahua. She was trying to catch a plane in Nice, and she was late. Her car skidded on the rainy road and crashed into a cement pole, instantly bursting into flames. A witness saw her struggling and tried to help, but the flames engulfed the car and she burned to death. It took 2 hours for the rescue unit to get her body out of the vehicle.  This year, 2017, will have been 50 years since her death.

Here as some pictures of Françoise Dorléac with Stephen Boyd and Omar Sharif in the very entertaining movie ‘Genghis Khan’ from 1965.










Stephen Boyd & Omar Sharif in “Genghis Khan”, 1965



Stephen Boyd and Omar Sharif starred in three movies together (if you count ‘The Poppy is Also a Flower’). They first met in Cairo at the inauguration of the sound and light show at the pyramids of Giza in April 1961. Stephen was on a publicity tour for Twentieth Century Fox.

Obviously the joint project they were planning never came to fruition, unfortunately. The first movie they worked on together was the grandiose, sombre epic ‘The Fall of the Roman Empire’. Stephen was the highest paid male actor in this movie, and Omar was an up and coming star who had just received great reviews for his performance in ‘Lawrence of Arabia.’ They are pitted as rivals in this film. Omar plays an Armenian king who marries the woman Boyd loves,  Lucilla, played by the incomparable Sophia Loren. Most of Omar’s scenes were cut from the final draft of the movie, but he and Boyd do get a great sword fight scene in the second half of the film. As far as can be discerned, the two actors got along just fine during the filming of this movie in 1963. About a year later they would work again together, but this was a different tale to tell. The two actors were cast again as rivals in the action packed epic ‘Genghis Khan’, with Omar as Temujin (Genghis Khan), and Boyd as the heavy this time,  portraying Jamuga, the leader of a rival tribe, the Merkits. Boyd seems to have had a great time as this villain. His character is ruthless, stubborn, relentless and vicious- a true barbarian. Omar’s Temujin is more refined, gentle, and forward thinking. Temujin is determined to coalesce the various warring tribes in Mongolia into a united Mongol nation. Jamuga is the thorn in his side throughout the picture, even going so far as to rape Temujin’s wife Bortei, played by the lovely Francoise Dorleac (Catherine Deneuve’s older sister).  Boyd at the time was still a major star, so he was billed first and also paid the highest, even though it was truly a starring role for Omar Sharif. In Eli Wallach’s memoirs he mentions speaking to Sharif on the set about his own pay, and the angry reaction it produced. It seems even Eli Wallach was getting paid more than Sharif! Somehow something was said or unsaid on the set that caused a a bitter enmity between the two actors. This set off Boyd’s Irish temper as,  generally speaking, Boyd was usually more than amiable to his co-stars. In this case, however, the two men refused to speak to each other off camera, refused to have pictures taken with each other, and also refused to attend the same premiere of the movie together. It was an all out feud. The tension it produced does come off well on screen, however, as the two actors do truly seem to hate each other, as their characters also do. The movie ends with a dusty, bloody, shirtless Mongol duel, with Boyd and Sharif wrestling and warring with each other in pure hatred and animosity. It’s a wonder this final wrestling match didn’t clear the air between these two! Two years later they would both appear in the U.N. sponsored movie ‘The Poppy is Also a Flower,’ however both of their minor parts were filmed completely separate from each other.  After struggling to make a name of himself in both ‘Fall of the Roman Empire’ and ‘Genghis Khan’, Omar Sharif would finally achieve permanent stardom in the classic ‘Doctor Zhivago.’ But if you take another look at ‘Genghis Khan,’ you will see my favorite Omar Sharif performance, alongside one of my all time favor Stephen Boyd performances as well.


In Fall of the Roman Empire, 1964



In IMG_0017-009

In Genghis Khan, 1965




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FRIENDLY VILLAIN- Stephen Boyd “Genghis Khan” 1965 Interview


El Paso Herald June 19, 1965


The American premiere of Irving Allen’s epic ‘Genghis Khan’ in Dallas on Thursday was a hospitable social occasion, which gave representatives of the Texas press an opportunity to fly in and meet old friends. Columbia Picture’s Bill Lewis is an excellent host with a knack for making people happy, and Stephen Boyd, who stars as the villain Jamuga, was on hand to prove that he is really a friendly Irishman with an imposing background in theater.


Stephen Boyd does not grant interviews. He holds friendly conversations instead. Over coffee, he explained that he did not become an actor, for every Irishman is born one. His professional life began early, when he played Hamlet at the age of eight, for the Belfast B.B.C. Children’s Hour. Work with the Ulster Theatre Group was followed by summer stock and broadcasting in Canada and some near-starvation in London, where he actually “busked,” or entertained lines waiting to enter the theaters he had to be near. He got as far as the door- as doorman- when Sir Michael Redgrave noticed him, and with the strange acumen of the profession, recognized an out-of-work actor. Sir Michael Redgrave gave Stephen Boyd his first break, and had remained a close friend and guide ever since.


Asked about The Method, Mr. Boyd pulled a slightly Jamuga face. The term, he stated, is much misused, for method is part of an actor’s training and no more to be emphasized than an athlete’s push-ups. An actor learns by working, and the wider the variety of his roles, the more he learns. For that reason, to be type-cast is to lose creativity, and to lose that is death.


Although he works entirely in films now, for stage and screen are separate masters hard to mix, Stephen Boyd uses stage techniques in his screen work. He rehearses alone onset at night, for example (unheard-of diligence), and “walks” his lines as he learns them. He considers movies a challenge to any serious actor, for they play to the masses unreached by other art forms, must have commercial appeal, and yet must keep truth.


The screen actor can only guess and hope – and his performance is on record unalterable, without hope of doing better tomorrow night. Like all good actors, Stephen Boyd cares intensely about doing his best and bringing truth to his work, whether his audience will understand it and feel it with him, or not.


After his success as Messala in “Ben-Hur,” Mr. Boyd was cast as Anthony in That Film. Miss Taylor’s illness delayed shooting for six months, directors and story slant were changed, and he decided to do “Jumbo” instead. So history was made, but he has no regrets. “I’ve played opposite Bardot, Loren and Lollobrigida,” he commented quietly, “They were all beautiful to work with.”


Most of the time, as in “Genghis Khan,” he prefers to play villains. He finds them more interesting, and is enthusiastic over his forthcoming role in “The Oscar,” about an actor unlike himself, promoted through publicity rather than hard work, who decided to remove rival candidates for the Oscar Award. When Stephen Boyd’s own Oscar nomination arrives, however, he will remove his rivals by talent alone. He is his own stunt man, who learned trapeze work for “Jumbo,” and whose horsemanship is as remarkable as his swordplay.


In “Genghis Khan,” Stephen Boyd co-stars with Omar Sharif as the good Genghis, who unified the Mongol tribes. The film, however, is not history. It is a rip-roaring adventure magnificently photographed in wild beautiful Yugoslavia, with enough battles and horses and duels and fireworks even to suit vacationing little boys.


And I do recommend it to them. Adults will find the climax excellent, although early scenes have been cut so that continuity suffers, and motivation becomes at times a mystery. But if they will just sit back and not worry about why Princess Katke’s brothers happily joined her captor, instead of avenging her, and why James Mason is unintelligible as a kind wise Chinese, and why Eli Wallach hasn’t more to do (for he does it well), the Mongolian hordes will thunder across their vision, and they will have a thoroughly exciting and entertaining evening.


“Stephen Boyd Tries Theory – Personality First, Acting Second” by Louella Parsons 1965

Stephen Boyd Tries Theory – Personality First, Acting Second

Indianapolis Star, June 27, 1965



Hollywood –  That witty, attractive Irishman and good actor, Stephen Boyd, is a happy man these days. After almost four years of wandering all over the globe making movies he’s finally getting a chance to do two in a row in Hollywood.

His recently finished ‘Fantastic Voyage’ at 20th Century Fox and will shortly start work at Paramount in ‘The Oscar.’ It will be the longest stretch Steve’s enjoyed in his adopted country (he became an American citizen over a year ago) since he made ‘Jumbo’ with Doris Day in ’61.

In the interim Steve’s location travels have taken him to Italy (‘Imperial Venus’),  England (‘The Third Secret’), Spain (‘The Fall of the Roman Empire’), Egypt (‘The Bible’) and Yugoslavia (‘Genghis Khan’). The last named, made for Columbia, goes into general release July 4, Steve’s birthday.

But critical and audience reaction to his performance in the spots where it has already opened have handed him a mighty nice advance birthday present.

A little over a year ago Steve told me he had finally come to the conclusion that to be a big screen success in Hollywood an actor had to let his own personality come through any character, rather than submergin himself in the role.

In ‘Genghis Khan’, he plays a long-moustachioed villain called Jamuga, his first heavy since ‘Ben Hur,’ and I asked him if he had applied his new theory. “Yes, “ he said, “If I had played Jamuga normally, with an actor’s approach of going into character, I don’t think it would have come out as well. I got some very nice notices. But the good, truthful job will almost always go unnoticed. I deliberately let my own personality come through the character because I’m convinced it’s the only way you can sell. The public buys known commodities. They recognize outward signs- like familiar labels.

“It’s just the opposite of the stage, where you must create a character, then sell it. In movies you must sell yourself first—your own original personality – then whatever you can add as an actor is a plus value. This is what made the glamour of the movies—personalities. I’m a louse and I let my own self show through Jamuga.”

When I took exception to his description of himself he said with typical Boyd tongue-in-cheek attitude: “Oh, I’m not any more of a louse than the ordinary guy – just a run-of-the-mill louse!”

Continuing about ‘Genghis Khan’ he told me: “The great thing it it’s an epic, but it only lasts two hours. You don’t wind up with sore backsides and you don’t have to take a psychiatric dictionary with you.” Then, in serious vein: “Yugoslavia is beautiful, wild, virgin country. And it’s one of the few I’ve been in where you can see the results of American aid. People come up to you in the street and thank you.

“There’s a marvelous girl in the picture, Francoise Dorleac. And, of course, Omar Sharif, James Mason, Eli Wallach and Robert Morely, among others. Mine is a small part, actually. I felt the role could have been greatly improved, but it would have detracted in time from the story of Genghis Khan. After all when you’re telling the story of a man who conquered a third of the world in his 30s there isn’t time to motivate others characters completely. There were times when I had to be just an animal. I would like to have been a human being first – then an animal.”

Steve spoke enthusiastically about ‘Fantastic Voyage, ‘ which he just finished. It’s a way-out yarn about a team of doctors, a medical assistant (female, of course), and a C.I.A. man (Boyd), who are miniaturized, put aboard a miniaturized sub-marine and injected into a scientist’s bloodstream. They travel to his brain to perform on operation which will keep him from revealing top secret information to the enemy.

“The sets showing the heart and lungs are fantatically beautiful and the whole thing is a unique experiment in picture making. Things went on in this film that have never been done before. It sounds a little icky when you tell people you’re making a trip through the bloodstream, but it isn’t at all- it’s one of the most beautiful things you’ve ever seen.”

Of ‘The Oscar,’ in which he’ll play Frankie Fane, the actor who sets out to sabotage his four fellow nominees for the Best Actor aware, he told me.  “I was so excited when I read the script that I couldn’t sleep all night. I honestly believe if I can just do reasonably well – just a cut above had- I’ll be set for life. It’s that good a role.”

Stephen’s Outrageous Patter – 1965 Interview

Stephen’s Outrageous Patter

Boyd, the Actor and the Lover

Stephen Boyd, of ‘Decline and Fall of the Roman Empire’ fame, will be seen on Detroit screens this week as Jamuga, the hated enemy of ‘Genghis Khan’, opening Wednesday at neighborhoods and drive-ins. Boyd was lined up for the Mark Anthony role in ‘Cleopatra,’ but that was aborted during production troubles and the part finally was filled by a man named Burton.

By Susan Hopper, Detroit Free Press August 26, 1965

Special to the Free Press


HOLLYWOOD —  What kind of fellow is this Stephen Boyd? Listen to him talking:

Why he won’t look at his own movies:

“I’m not the kind of actor I want to watch.”

On Doris Day, Sophia Loren and Brigitte Bardot”

“The only difference between them is their hair style.”

One who are the greatest lovers”

“I doubt that Latins or Frenchman are the greatest lovers. Their women are all right: they’re pliable. But I’d rather have an Anglo- Saxon.”

On this marriage, which quickly ended in divorce:

“I was in love with the girl I married. I’d been with her four months.  We married and stayed together 19 days, which was too long. We were fine before marriage, but immediately you sign that little paper marking it legal…I’m not altar shy, but I’m not making it legal again.”

Why he became an American citizen:

“I wanted to say thank you for a way of life. I want to give something back to America, and you can only do it if you’re a citizen and can vote and take part in community affairs.”

Some of the things Ulster-born Boyd has done in recent years include going to Hollywood in order to make his fortune and making it—and setting some sort of record in the brevity-of-marriage stakes.

“When I left Britain in 1956, “ he said, “they  were making the kind of pictures which were surface. I’m not a surface actor. Cary Grant is and a brilliant one. David Niven is.”

“I’m a naturalistic actor of the Irish and French schools. In a film, if I go up to someone and say something to her, she either slaps my face or we have an affair. In English films, actors go up to a girl and say these same things and she’s supposed to laugh. I can’t say it that way. I can never stop being myself when I’m acting.”

Boyd explained what he meant by himself.

“I can only play a man who’s between 25-45. He’s got to be physically sort of—well he’s got to look strong. Don’t you think?”

Boyd leaned across the restaurant table and lifted his sunburned brows high over his round, blue eyes—somehow managing to look quizzical and good-natured and leering all at the same time.

“There’s a limit to what I can play. No matter what I do, I’m gonna look like me. You know?”

When he feels like it, Boyd speads in an accent which 99 percent of the Enlgish assume is a typical American accent; ‘going’ becomes ‘gonna’, ‘something’ becomes ‘sumpin,’ etc.

“Since I’ve been back in Britain, I keep being told I sound American. But when I go home to Northern Ireland, my mother says, ‘I see you haven’t lost your accent,’ And she’s right. The American accent is based on the Irish one.”

Another theory of Boyd’s concerns British actresses and why they often lament being underrated internationally;

“I think there are quite a few girls in Britain who could make international stars. I met Samantha Eggar the other day. She looks beautifully sexy and alive. You know? But the awful thing about it is the majority of the girls in Britain really have got to do something about their accents if they want to be in international films. They all sound so national….so terribly, terribly, terribly. You know what I mean?  They’ve got to learn to speak English—which is a beautiful language—not English that is only understood in one little community like Oxford. You know, I’ve never liked a lot of make-up on women. You don’t know how to break through. It’s almost like being in prison. You know? Let-me-know-when-I-touch-skin. What do they put so much on for? Huhh? It takes longer to take off. And time is a very important thing.”

Boyd did not waste a minute of it in his marriage to film agent Mariella di Sarzana.

“When you legalize something, it becomes a great big fight to hold the romance. Almost the biggest problem in life becomes this damn search for the romance you had—just five minutes before you signed the register. To hell with that lark. Marriage is a very strange thing. I don’t like organizations.”

I asked Mr. Boyd if he ever grew irked at being organized by agents and producers and directors. He looked at me in astonishment.

“Hell, no,” he said simply, “They’re running around trying to organize themselves. While they’re trying to do that, I do my work and walk away with the money.”