Over the last year the entertainment industry has suffered incalculable losses of talented people. Some of them hit home personally, as is the case with producer Euan Lloyd, who passed away this weekend in London. I first met Euan in 1978 when I was attending college in New Jersey. I had the enviable gig of being the film critic for the campus newspaper, which afforded me the opportunity to routinely attend press screenings of forthcoming films in New York, which was a stone's throw across the river from my native Jersey City. I had read about the upcoming release of "The Wild Geese" which seemed to promise a "too-good-to-be-true" cast composed of some of my favorite actors (Richard Burton, Roger Moore and Richard Harris above all) in the kind of gritty, macho British war flick that I had become addicted to ever since seeing "Zulu" at age 8. To say the film lived up to expectations would be an understatement. I thought it was a superbly crafted blend of rugged action, social commentary and splendid performances under the capable direction of Andrew V. McLaglen. The film was inspired by the exploits of a real life mercenary named Col. Michael Hoare (not so affectionately known as "Mad Mike"). He was a technical adviser on the film and was speaking at the post-screening press conference along with the film's producer Euan Llloyd. I had seen some of Lloyd's earlier films and liked them. The two men gave a riveting account of the making of "The Wild Geese", after which I approached Mr. Lloyd and introduced myself. I told him that I was greatly impressed with the film and would be writing an excellent review of it. I had hoped to just get a handshake and a few nice words since I wasn't exactly representing the New York Times. To my surprise, Mr. Lloyd spoke to me at length about my experience writing film reviews. He hung on every word. Whether he was just being polite or had a genuine interest, I can't say to this day. However, he astonished me by inviting me to breakfast at the Plaza the next morning. As a college kid, the Plaza on Central Park was a place you only saw in the kidnapping scene of "North By Northwest", as few people from my blue collar background had the kind of bankroll that would afford a trip to the bar or restaurant. The next morning I dined with Mr. Lloyd, who insisted that I call him Euan. After breakfast we took a long walk around the city and he related fascinating stories about the film trade. He even gave me an inside scoop on the next James Bond movie. He said he had recently screened "The Wild Geese" for Cubby Broccoli, who was so impressed by the sequence in which the mercenaries sky dive into Africa that he decided to plan a major aerial scene to start "Moonraker" off with - and indeed he did. Euan had asked me to bring him copies of some of my reviews, which he read in my presence (a nerve-wracking experience for me, as I recall.) He was highly complimentary and encouraged me to take up writing as a career. I had never heard such words of encouragement from anyone. He also told me that if my schedule permitted it, he could get me a bottom-rung job on the set of his forthcoming film "The Sea Wolves". It was an offer I wasn't able to take because of factors in my personal life at the time, not these least of which were that I needed a steady job and was about to get married. Still, the offer was an extremely kind gesture. I parted with Euan that day and was destined not to see him for many years. In the pre-E mail era, these types of casualties happened to people's relationships.
Richard Burton, Roger Moore, Richard Harris and Hardy Kruger in "The Wild Geese".
In 2002, my old friend and future Cinema Retro publishing partner Dave Worrall happened to meet Euan Lloyd and Andrew V. McLaglen at an event at Pinewood Studios. He asked Euan if he might have remembered a guy named Pfeiffer he had met many years ago. To his surprise, Euan recalled the day I had spent with him and relayed the message that we should visit him when next I was in London. A few months later we did just that and I was delighted to renew my friendship with this remarkable man. In 2006, he was our guest of honor for a black tie dinner we held at the Reform Club in London. His anecdotes were captivating but he never seemed pretentious or full of himself. He was always an example of humility and class. When we started Cinema Retro magazine a few years later, Euan was front and center and we ran an extensive interview with him over the first three issues that was conducted by writers Mac MacSharry and Terry Hine. Euan would always be there when you needed him. It should be said that Euan was one of the first very successful producers to eschew studio financing in favor of raising money for his films on his own, then selling distribution rights to the major studios. In his early days in the industry he worked for future James Bond producer Cubby Broccoli and his (then) partner Irving Allen. Lloyd always credited Cubby for giving him a him this opportunity, which was actually arranged by Alan Ladd, who Euan had befriended. Euan helped oversee production on many successful movies for Cubby and Irving's Warwick Productions. When Cubby later teamed with Harry Saltzman to form Eon Productions, Euan continued to work with Irving Allen and co-produced the second Matt Helm film, "Murderer's Row" starring Dean Martin. From that point on, he would produce his own films. They included Sean Connery's first post-Bond film, "Shalako" in 1968. He struck pay dirt with the 1978 release of "The Wild Geese", which was a major hit internationally and spawned a loyal cult following that seems to be growing to this day. Some of his movies including "The Sea Wolves" and "Who Dares Wins" did not do well at the boxoffice in America but reaped large profits from the European markets. "Who Dares Wins", which was based on a real life incident in which the SAS fought terrorists to free the Iranian embassy in London, counted among its admirers Stanley Kubrick, who wrote Euan Lloyd a letter praising the film. Another admirer of the 1982 movie was President Ronald Reagan, who requested that it be screened at the White House. Euan was also a man who seemed to have no enemies. I once received an unexpected phone call from Sean Connery and in the process of speaking to him, I told him that I was a friend of Euan Lloyd's. Connery recounted his experiences making "Shalako" and said that although he had battled with producers many times over the course of his career, Euan was one of the most honorable men he had ever worked with. Similarly, Roger Moore, who starred in "The Wild Geese" and "The Sea Wolves" for Euan, counted him among the most trustworthy producers in the industry.
Lee Pfeiffer introduces Euan Lloyd at a dinner in his honor at the Reform Club in London.
Over the years, Dave and I would try to see Euan whenever we were in London. He would occasionally join us at the royal premieres of James Bond films. On my last visit in October 2015, I knew he had been seriously ill. We planned to meet briefly at his apartment but his illness prevented this from happening. I think Euan was looking out for me even then, as I don't believe he wanted me to see him in a weakened state. Perhaps he was right. My only memories of him are of a vibrant, elegant man who was always "dressed to the nines" and the epitome of class, style and kindness. He was old school in the best sense of the term. Small wonder that producer Jonathan Sothcott titled his excellent 2004 documentary tribute to Euan "The Last of the Gentleman Producers". I realize now more than ever how that title perfectly encapsulates the man. Upon learning of Euan's passing, Sir Roger Moore referred to him as "a legend". Somehow, that word seems equally appropriate.
(Click below to watch "The Last of the Gentlemen Producers")
