CINE Revue Magazine April 1971 – Marisa Mell & Stephen Boyd back cover photo

This is a hard magazine to find! I have been searching for this for years and I finally snagged a copy of it. This is a fantastic photo by Angelo Frontoni of Austrian actress Marisa Mell embracing her co-star Stephen Boyd from behind during the filming of “Marta”.  The photo was part of a layout for the French magazine “CINE Revue” concerning the sexual ‘explosion’ in films during the early 1970’s.

Mell and Boyd became lovers soon after during the filming of their second film together, “The Great Swindle”, filmed only a few months after “Marta”. For more on Boyd’s brief but poignant relationship with Mell please see this blog, “Love and Magik in 1971“. Or just enjoy this  sexy picture of two attractive stars during the start their romantic interlude!


Happy Birthday Marisa Mell! (Feb 24, 1939)

What Happens When a Cancer Meets a Scorpio?

Stephen Boyd and Marisa Mell made a splendidly handsome couple during their brief romantic relationship and marriage in 1971. Since they both were quite convinced about the power of astrology, I think the below summary of their two water signs is pretty apt. Stephen was a Cancer sign, and Marisa was a Scorpio.


“The element of Water is associated with the signs Cancer, Scorpio and Pisces, and it also rules the Fourth, Eighth and Twelfth Houses. … Water signs are intuitive and sensitive, and they feel more intensely than the rest. They are emotional and nurturing, and like a river, they run deep… When Cancer and Scorpio make a love match, the resulting relationship draws together the energies of two emotionally intense Signs. They both see life as a passionate and deeply emotionally exercise of human connection. The Moon (Emotion) rules Cancer, while Mars (Passion) and Pluto (Power) both rule Scorpio. A relationship between a Cancer and a Scorpio can go from one extreme to another, and although Cancer partner will try hard to stabilize it, it might be too difficult if Scorpio doesn’t have enough respect for their own emotions. When they find an emotional link, they can go very deep in search of true love, and unite on a level that is unreachable for other zodiac signs. This can make them speak without words, understand each other’s thoughts with only one shared glance and be synchronized in their approach to their future together. These Signs feel a strong sexual attraction, and when they are together the temperature in the room tends to rise! (

If their emotions aren’t shared on a deepest possible level, or Scorpio partner refuses to deal with them, it could be too hard for Cancer to handle the self-destructive nature of their partner. Their connection needs to be sincere and pure, in order for both of them to be ready to give in to this intense emotional contact. (



Cancer and Scorpio match





Stephen Boyd & Marisa Mell in “Marta”, 1971

Stephen Boyd is hoping he has better luck with “Marta,” shooting in Spain, than he did with “Imperial Venus,” which he filmed some seasons back with that Venus Gina Lollobrigida.

In Marta, Stephen ‘s playing his first nude love scene since his “Venus” endeavor, though American audiences would never know it. Venus was never released in the U.S. The Customs Service seized and held onto the print. That must have been some nude scene! (The Ithaca Journal, January 26, 1971)

In early 1971 Stephen Boyd traveled to Madrid to begin filming a production of “Marta”, a Giallo inspired Gothic romance about madness and obsession. The movie was based on a play “Estado Civil” written in 1969. The film involved love scenes with co-star and Austrian beauty Marisa Mell which required both stars take off their clothes, a situation all too familiar to Boyd! The first time Stephen encountered this was with French icon Brigitte Bardot in “The Night Heaven Fell (1958)” early on in his movie career. Miss Bardot, however, did most of the stripping down. “The Night Heaven Fell” was only shown in the USA as an “Adults Only” screening. Four years later Stephen was cast in a somewhat haphazard Italian production of “Imperial Venus (1962)” with Gina Lollobrigida. During this film it was Boyd who had to strip down to nothing under a bedroom sheet. Stephen was not pleased. Despite the sheet, “Imperial Venus” was still censored and banned from release in America. By the time “Marta” was released, the 1960’s had taken its toll on what was considered allowable on the movie screen. Nudity and rough language were no longer just exclusive to European audiences. Films had drastically changed. Still, the international version of “Marta” was initially censored, this time in Europe, in countries like Spain! “Marta” was eventually released both in Europe and in America after some extensive cuts.

“There were very serious problems…We had to make a lot of cuts. There was a specific scene that cost us a good deal. We did not realize during the … mixes because many of the scenes were positive in black and white, but the final copy in color, once finished, which the censors saw, contained a scene after all the cuts… in which Mell revealed everything under a thin nightgown. The worst thing is that we could not cut that, because it was an important scene, it was not one of those that we had more or less planned for the international version, and it was necessary to follow the story.” (José Antonio Nieves Conde (director) interview from Die Feuerblume (Marisa Mell Biography) by André Schneider, Page 335)

Below are some tactfully edited snippets from the unedited production and some very nice cast shots of Stephen Boyd and Marisa Mell on the set of “Marta” in and around Viñuelas Castle in Spain. Mell is sporting both a blonde wig and her own long dark tresses, as she played a dual role in the film. This was the beginning of a very special relationship Stephen Boyd had with actress Marisa Mell. You can certainly see the chemistry they had together both on and off the screen!









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“I’m a completely practical actor” – Stephen Boyd interview from 1973

This is a fascinating article that really makes you realize what a working, adaptable actor Stephen Boyd was – and a survivor!

“I’m not Laurence Olivier. I’m a completely practical actor. I have a commodity value and sometimes I get close to the limit of my value, sometimes not. But I don’t overprice myself. Even if I won an Oscar, I wouldn’t change my price.”

Stephen Boyd Likes U.S. Best

By Bob Thomas, Associated Press Writer

Mar 1, 1973

Hollywood (AP) – “No matter what it says on my passport, I consider this my home. I’d like to stay here all the time, but how can I, when all the film-making is elsewhere?”

Irish born Stephen Boyd admits that is he “one of those rare birds among actors.” Whenever he has time between films abroad, he returns to his house in nearby Tarzana.

The last seven years of Boyd’s career comprise a case study in a film star’s survival, one which other actors might profit from studying. Particularly those who are sitting beside their swimming pools, waiting for their agents to call.

Stephen Boyd, now 44, became a star with his powerful performance as Messala in “Ben-Hur.” He finished a nine-year contract with 20th Century Fox with “Fantastic Voyage,” then played the lead in “The Oscar.” That proved to be his last Hollywood film.

“It was in 1966 and the studios were shutting down,” he recalled. “I decided I didn’t want to wait for my agent to telephone. I saw what independent producers were doing, especially abroad, and I made up my mind to join them.”

Boyd formed a partnership with English producer Euan Lloyd, and they worked for 18 months on projects that never reached fruition. Then he decided to avail himself of the lush field of film making in Europe.

“During the past two and a half years,” he said, “I have made nine films – for Italian, English, French, Australian, American companies and two co-productions of Italy and Spain.

Stephen Boyd (R) during the filming of ‘Kill’, directed by Roman Gary, 1971, Madrid, Spain. (Photo Gianni Ferrari/Cover/Getty Images)

“Some, Like ‘Kill, Kill, Kill,’ will be released in this country, some may not. The Italian-Spanish films were aimed strictly at the Latin market – they’re more emotional, overdone, theatrical.

“The Italian producers don’t even concern themselves with the American market any more: they’ve been cheated too many times by American producers. They can do all right on their own. One of my Italian-Spanish films, ‘Marta,’ made $780,000 in its first seven weeks.”

Stephen Boyd mingles at a “Marta” event in Madrid, 1971

Some American stars have despaired of entering the jungle of European independent production, but Boyd said he had encountered no real problems. He goes over each contract with care and retains the English speaking rights for his own company.

“Language is no problem,” he said, ”I make all of the films in English, and the foreign languages can be dubbed in later. I understand Italian and French, and I’ve found that you can get along with any language if you know your own language well.

“There’s no problem with budgets, either. Most of them run around $750,000, which represents more than a million- dollar film made in Hollywood. The reason is that union and overhead charges are such that a million-dollar picture in Hollywood only provides $630,000 of entertainment on the screen.”

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Maria Mahor, Stephen Boyd and Analia Gade at “A Million For a Blonde” premiere event in Madrid (1971?)

Boyd declined to discuss his earnings from European films, but he obviously earns more than when he was a contract actor. He is realistic about his position:

“I’m not Laurence Olivier. I’m a completely practical actor. I have a commodity value and sometimes I get close to the limit of my value, sometimes not. But I don’t overprice myself. Even if I won an Oscar, I wouldn’t change my price.”

Boyd recently finished a two-hour movie for television, “Key West,” and Warner Brothers hopes that it will become a series.

“So do I,” said the actor, “I’d like anything that will keep me in the United States of America.”

Stephen Boyd at Madrid Airport, 1973 –
Stephen Boyd arrives in Madrid in 1973 –