Happy Birthday: "Latin Lover" Rudolph Valentino!

Rudolph Valentino (May 6, 1895 – August 23, 1926). His first performance was as an extra in the film, Alimony, he then went on to perform in a bit part in the silent film drama, The Eyes of Youth(1919). Directed by Albert Parker and starring Clara Kimball Young. This film is often credited for Valentino being cast in the film, The Four Horseman of the Apocalypse.

He also performed as second lead in the silent film, The Delicious Little Devil (1919) with Mae Murray.
Please click here to read Delicious Little Devil(1919) movie review.

Not wanting to continue to play the "heavies" in film, Valentino returned to New York staying with friends in Greenwich Village and while in New York, he learned that June Mathis had been trying to find him to cast him in the role of Julio Desnoyers for the film, The Four Horsemen of the Apocalypse(1921). A silent movie directed by Rex Ingram and starring Rudolph Valentino, Pomeroy Cannon, Josef Swickard, Wallace Beery, and Alice Terry. It was based on the novel The Four Horsemen of the Apocalypse by Vicente Blasco Ibáñez. The film became the top grossing film of 1921 beating out Charlie Chaplin's The Kid, and going on to become the sixth best grossing silent film of all time. The film turned Rudolph Valentino into a super star and he became known as the, "Latin Lover". The film also inspired the tango craze and the gaucho pants.



Metro Pictures, refused to give him a raise beyond the $350 a week he had made for Four Horsemen and gave him a bit part in a B film called, Uncharted Seas. No negative or print material is known to exist at this time. It was on this film that Valentino met his second wife, Natacha Rambova.

Valentino went on to perform in the silent film, Camille(1921).  It is one of numerous screen adaptations of La Dame aux Camélias by Alexandre Dumas. The original play opened in Paris in 1852. The first Broadway production of the play opened on 9 December 1853. There have been 15 Broadway revivals of the popular play, the last in 1935.

The story begins when, a law student, Armand falls in love with with a courtesan Marguerite, who entertains men, in her fancy apartment. Later, Armand sees Marguerite at the opera and attends one of her private parties to get to know her better. Things are going well.. until Armand's father, convinces Marguerite to end the relationship. She takes up with a wealthy client, leaving a note for Armand. When Armand finds the note and is heartbroken, he decides to begin dating Olympe, another courtesan. When he sees Marguerite at a casino, he publicly embarrasses her. Marguerite, gives up her life as a courtesan and finds herself alone, poor and her illness takes a heavy toll on her. The film includes many lavish Art Deco sets. Natacha Rambova, was the movie's art director.
Please click to view movie review for the Silent film Camille.

Valentino's final film for Metro was, The Conquering Power(1921). A silent film. Directed by Rex Ingram and starring Rudolph Valentino and Alice Terry. It was based on the novel Eugénie Grandet by Honoré de Balzac.The story begins After the death of his father, Charles Grandet, is taken in by his uncle, Monsieur Grandet. Even though being a wealthy man, he forces his family to live in poverty.

Charles falls in love with Grandet's daughter Eugenie but Grandet sends Charles away. While Charles is away, Grandet kills Eugenie's mother. It turns out that Eugenie is not really Monsieur Grandet's daughter after all. Eugenie, finds letters sent by Charles that her father had hidden, who after a argument accidentally locks himself in a small room where he keeps his gold and dies. Eugenie, is left a wealthy woman, which puts the pressure on her by two competing families to marry one of her suitors. Will she ever find Charles in time?

Jesse Lasky, wanted to capitalize on the popularity of Valentino and cast him in a role that would give him the reputation as the "Latin Lover". The Sheik(1921). A Silent movie directed by George Melford, starring Rudolph Valentino, Agnes Ayres and Adolphe Menjou. It was based on the bestselling romance novel, The Sheik by Edith Maude Hull.

The story begins when Sheik Ahmed, falls in love with British socialite Diana and carries her off to his tent in the desert. Diana, not to sure how she feels about about him. Until, she is kidnapped by desert bandits.. does Diana realize how much she loves Ahmed, who comes to her rescue. The film was a major success and would define not only his career but his image and legacy.

He also had a leading role in the film Moran of Lady Letty. A story about wealthy Ramon Laredo, who is abducted and put to work aboard a ship commanded by smugglers. When the ship comes across the "Lady Letty," some of the Letty's crew is brought aboard, including Letty 'Moran' Sternerson, daughter of the Letty's captain. Moran and Ramon have little use for each other, but when the smuggler Captain Kitchell turns his attentions on Moran, it is Ramon who comes to her rescue.

In November 1921, Valentino was set to star alongside Gloria Swanson in the Silent film, Beyond the Rocks(1922). A silent film in which Gloria Swanson and Rudolph Valentino starred together for the only time. The film was directed by Sam Wood.

The story is about a woman who plans to marry a rich older, man. Just before her marriage she meets a young nobleman. While in the Alps on her honeymoon, they meet again and later, in Paris, they meet a third time and fall in love. When the woman's husband finds out about her feelings for the nobleman and later decides to sacrifice himself  on a dangerous expedition to Arabia. His death during that expedition makes it possible for the young lovers to be together. The film had lavish sets and extravagant costumes.

Please click here to view movie review Beyond The Rocks(1922).

In 1922, Valentino began work on another Mathis film, Blood and Sand (1922). A Silent drama film directed by Fred Niblo and starring Rudolph Valentino, Lila Lee, and Nita Naldi. It was based on the Spanish 1909 novel Blood and Sand  by Vicente Blasco Ibáñez. There is an earlier version of Blood and Sand (1916), filmed by Blasco Ibáñez himself, with the help of Max André. This earlier version was restored in 1998 by the Filmoteca de la Generalitat Valenciana (Spain).

The story is about Juan Gallardo, a poor village boy, who grows up to become one of the greatest matadors in Spain. He marries Carmen a friend from his childhood, but after he is rich and famous he finds himself drawn to Doña Sol, a wealthy, seductive widow. They begin a love affair, but Juan, feeling guilty, tries to free himself of Doña Sol. Furious at being rejected, she exposes their affair to Carmen and Juan's mother. Juan becomes reckless in the arena. Will he live long enough to reconcile with Carmen? Blood and Sand proved very successful at the box office.

These are just a few examples of Rudolph Valentino's wonderful performances.

Pawsome Pet Pictures: Rudolph Valentino.

Personal Quote:

A man should control his life. Mine is controlling me.

“Camille” (1921)

“Camille” (1921) is a silent romantic drama starring Alla Nazimova, Rudolph Valentino, and Patsy Ruth Miller. Directed by Ray C. Smallwood, this film was adapted from the novel by French author, Alexandre Dumas, “La Dame aux camelias,” and the scenario for this modern day version was written by June Mathis.

The story begins with a Parisian courtesan, Marguerite Gautier, played by Alla Nazimova, despising her life and not being able to break free of it. She also has tuberculosis and is frequently beset by bouts of illness. One evening, Marguerite meets a young law student, Armand Duval, played by Rudolph Valentino, at the opera. Armand pursues her, but she rejects his advances at first. Eventually, Marguerite and Armand begin a relationship and they start living together. Marguerite’s love for Armand is a way out of her sordid way of life. Unfortunately, Armand’s father, Monsieur Duval, played by William Orlamond, demands that Marguerite renounce Armand for the sake of his own future and that of his sister. Marguerite finally relents and runs away to a wealthy client, leaving a note for Armand.


By the fall of 1921, Valentino was solidly established in the movies, and he was a name. Playing Duval to Nazimova’s modern-dress Camille was no easy assignment. Nazimova was an actress of great experience and talent. Against her somewhat cold but forceful performance, Valentino seems low-key and subtle, and he blows her off the screen. Nazimova knew it, and cut him completely out of her death scene. Valentino absolutely commands attention, despite Nazimova’s Art Deco costumes and bizarre settings. In “Camille” (1921), Valentino was expected to be her co-star, yet he managed to establish himself much more strongly in the film than she did. “Camille” (1921) was not a financial success, but Valentino was not harmed by it. He and Nazimova made a curious pair and a sharp contrast in film acting styles. Valentino was a movie star as opposed to an actor. Nazimova was more theatre- oriented and at times her performance goes far over the top. “Camille” (1921) was designed with magnificent sets and costumes by art designer Natacha Rambova, who became Valentino’s second wife. One of my favorite scenes was the daydream sequence where Nazimova appears as Manon Lescaut and Valentino as Manon’s lover. Even though I like the 1936 version with Greta Garbo and Robert Taylor, I think Valentino was more expressive than Robert Taylor. The love scenes with Valentino and Nazimova were subtle and very well done.




Alla was born Mariam Edez Adelaida Leventon in the Ukraine on June 3, 1879, of Jewish parents. At age 17, abandoning her training as a violinist, she quietly studied theatre with assorted young actresses with whom she shared a boarding house. At age 17, she auditioned at the Philharmonic School in Moscow with Konstantin Stanislavsky. Her work with the Moscow Art Theatre led to tours of the United States, where she impressed the Shubert Brothers. The theatrical giants opened her in “Hedda Gabler” in English. For the following several years she established a reputation as the outstanding portrayer of the Ibsen works, “A Doll’s House,” “The Wild Duck,” “The Master Builder,”and “Little Eyolf.” During the early years of World War I, Alla appeared on the stage in a one-act pacifist drama, “War Brides.” Alla also debuted in films in “War Brides” (1916) and immediately created a sensation with her exotic manner, powerful presence, and sincere portrayal. Metro offered her a five-year, $13,000 a week contract, and she had a meteoric career appearing in 17 silent films. As her success in films grew, Alla became convinced that she alone could best direct her efforts. After several major companies refused to finance the projects, she made the unwise decision to produce both “A Doll’s House” (1922) and “Salome” (1923) with her personal savings. “A Doll’s House” (1922) was extremely well acted and Alla was said to be truly effective in her emotional scenes. Alan Hale, Alla’s leading man in the film, was a pioneer film actor in hundreds of films from 1911 to 1950. “Salome” (1923) is so outlandishly stylish and bizarre that it is actually enjoyable. Unfortunately, both “A Doll’s House” (1922) and “Salome” (1923) were critical and commercial failures. After her production of “Salome” (1923), Alla lost what remained of her fortune. Left with few options, Alla returned to perform on Broadway. In the early 1940’s, she appeared in a few more films, playing Robert Taylor’s mother in “Escape” (1940) and Tyrone Power’s mother in “Blood and Sand” (1941). Alla died on July 13, 1945. She was 66 years old.

“The Conquering Power” (1921) Rudolph Valentino

“The Conquering Power” (1921) is a silent romantic drama starring Rudolph Valentino, Alice Terry, and Ralph Lewis. Directed by Rex Ingram and adapted from Honore de Balzac’s “Eugenie Grandet,” this film is about the power of love over insurmountable obstacles. The story begins with Charles Grandet, played by Rudolph Valentino, living the life of a pampered young man in Paris while his father is facing financial ruin. Instead of telling his son of his financial woes, Victor Grandet, played by Eric Mayne, sends Charles to visit his uncle, Pere Grandet, played by Ralph Lewis. It is while Charles is visiting his uncle that his father commits suicide due to his heavy debts. Pere, who has no love for his nephew, convinces Charles to sign over all of his father’s estate. Thinking the estate is worthless, Charles does this readily. Although Pere is a very rich man, he is a miser and frugal to the extreme. There is a stone-walled room in his home where he keeps all his gold locked away. Pere has a wife, Mere, played by Edna Demaurey, and a beautiful daughter, Eugenie, played by Alice Terry. Each birthday, Pere gives Eugenie one gold coin which he is trying to teach her to hoard like him. Eugenie has two suitors, Bonfons Cruchot, played by George Atkinson, and Adolphe de Grassins, played by Ward Wing. However, she shows no interest in either of them. When Charles arrives from Paris at her home, Eugenie shows an immediate interest and they fall quickly in love. Pere arranges for Charles to go to the West Indies to get him away from Eugenie; he wants his daughter to marry a rich man to increase the family fortune. Just before Charles’ departure to the West Indies, Eugenie and him vow their everlasting love for each other. At this point, Eugenie convinces Charles to take all of the gold coins she has been hoarding. Even though Charles writes regularly to Eugenie, Pere intercepts the letters, and she never sees them. Charles eventually receives a letter from Pere telling him that he has made arrangements for Eugenie’s marriage and to never communicate with his daughter again. A year has passed and it is Eugenie’s birthday. Pere, like usual, asks Eugenie to bring the gold from its hiding place while he presents her with a new coin. When Eugenie panics, Pere realizes she gave them away. When Eugenie’s mother, Mere, tries to intercede, Pere strikes her and locks Eugenie in her room. Mere dies as a result of the incident. One day Notary Cruchot, played by Edward Connelly, comes to see Pere and reminds him that he is the only one in the village who knows Eugenie is not his biological daughter, but the product of her mother’s first marriage. He also informs Pere that Eugenie could demand a portion of her mother’s fortune. Pere and Notary Cruchot have Eugenie sign a document which will assure Pere that she cannot touch his estate during his lifetime. When Eugenie discovers several letters addressed to her from Charles in Pere’s room, she goes to the garden to read her letters. At this point, Pere goes through the room like a madman to see if any of his possessions have been stolen. In his madness, Pere pulls a large chest filled with gold on top of him which ends up killing him. Many years pass by, and Eugenie is told that Charles has returned to Paris and has married a wealthy young lady. At this point, Eugenie announces that she will marry Bonfons Cruchot.

Trying to recapture the success of “The Four Horsemen of the Apocalypse” (1921), Metro reteamed costars Rudolph Valentino and Alice Terry with writer June Mathis and director Rex Ingram, Terry’s husband, for “The Conquering Power” (1921). It is obvious that the script had been designed with Valentino’s new stardom in mind. He plays a pampered twenty-seven-year-old playboy who, at the start of the film, is celebrating his birthday with a somewhat risqué party. The camera lingers on him in this opening sequence, allowing the audience to appreciate his looks and his tuxedo. Later, when his character arrives at the little French village of the Grandet family, the entire sequence is about him rather than the girl he will meet and fall in love with, played by Alice Terry. Valentino arrives in an expensive automobile, which is driven by a chauffeur. When he goes to the humble cottage of the Grandets, he is allowed yet a third dramatic entrance. As the family sits inside in their peasant clothes, their door swings suddenly open, and there stands Valentino wearing a well-cut suit and a hat and, he carries a magnificent cane. It is clear that in “The Conquering Power” (1921) time is provided so that the audience can stare at him head to toe and appreciate his clothes and his stance. Even though the official leading role is played by the character actor Ralph Lewis as the old Grandet who goes mad with desire for gold, Valentino is the effective center of the film and the most interesting thing in it.

The problem Alice Terry had at the height of her career was that she was the wife of Rex Ingram, and she was doomed to be his leading lady in films that were dominated by their male stars. She held her own opposite Rudolph Valentino in “The Four Horsemen of the Apocalypse” (1921), but not in their second film together, “The Conquering Power” (1921). Ramon Novarro was, of course, Rex Ingram’s successor to Rudolph Valentino, and he starred opposite Alice Terry in “The Prisoner of Zenda “ (1922), “Scaramouche” (1923), “Where the Pavement Ends” (1923), and “The Arab” (1924). They made a beautiful onscreen couple, but Alice Terry was seen as a passive film star subjugated to the will of her husband-director. When Terry was separated from Ingram, as she was in 1924 and 1925, at a time when the marriage was in jeopardy, MGM cast her in “The Great Divide” (1925), “Confessions of a Queen” (1925), and loaned her out to Paramount for “Any Woman” (1925), and “Sackcloth and Scarlet” (1925). Away from Rex Ingram, Alice Terry was the legitimate star, and, particularly in the two Paramount releases, minus a recognizable leading man, she affirmed her box office popularity.

"The Conquering Power" (1921) is a small-scale story that is moving and filled with human emotions. Even though Valentino is not given the opportunity for the range of acting that is given to Alice Terry, he gives an exceptional restrained performance. "The Conquering Power" is one example of what an accomplished actor he was under the right direction. It's a shame that professional and personal differences between Ingram and Valentino led to the latter's departure from Metro shortly afterwards. Valentino never got another director that offered him quality scripts like Rex Ingram.

Rudolph Valentino "Son of the Sheik" (1926)

"The Son of the Sheik" (1926) is a silent romantic drama starring the legendary Rudolph Valentino and Vilma Banky. Directed by George Fitzmaurice and adapted from the novel by Edith Maude Hull, this film is a sequel to "The Sheik" (1921), and it casts Valentino in the dual role of the now older Sheik and his son Ahmed. The latter falls in love with dancing girl Yasmin, played by Vilma Banky, the daughter of Andre, a renegade Frenchman and leader of a group of thieves. After meeting with Yasmin secretely one night, Ahmed is captured by her father's group of thieves and held for ransom and tortured for not revealing the name of his father and other information. After being freed by his men, Ahmed, believing that Yasmin has betrayed him, carries her away to his desert tent, and rapes her (not shown, but suggested by wide-eyed close ups). His father Sheik Ahmed Ben Hassan orders him to release the girl. Ahmed begins feeling pangs of remorse for his treatment of Yasmin, especially when he learns she is innocent of all wrongdoing. Ahmed tries to win back Yasmin, but she now wants nothing to do with him.

"The Son of the Sheik" might seem ridiculous to modern audiences, and in many ways it is. However, this film has something, and this something could be described as romanticism. Even though it deals with torture, lying, betrayal, rape, revenge and murder, it absorbs these harsh terms like it has created its own world. "The Son of the Sheik" is less a woman's fantasy or cheap romantic fiction than "The Sheik." It is an action adventure film with romance. It gave Valentino more to do than just look exotic in costumes and makeup. In addition to stirring chases and nocturnal rides across the moonlit desert, there are fights with swords, knives, and fists. Valentino is alive and moving. The film also features many lingering shots and close-ups of Valentino and Banky kissing, nuzzling, and murmuring to each other. Both lovers are attractive and enjoyable to watch. Banky shows great chemistry with Valentino and dances magnificently. Valentino gives a solid performance in his dual role as the hero and as his father. While the film was being made, Valentino was in his prime. No one associated with the film, including its star, could have possibly thought of "The Son of the Sheik" as his swan song. "The Son of the Sheik" was very good entertainment with wide audience appeal. The premiere at Grauman's Million Dollar Theatre was one of Hollywood's most glamorous affairs. A month after the opening of "The Son of the Sheik" in New York City, Valentino died. Thirty thousand of his adoring fans tried to view the body at Broadway and 66th Street. On August 23, 1926, the day of the funeral, there were 100,000 in the streets. Over eighty years after his death, Valentino is still a magic name. As with Marilyn Monroe and James Dean after him, early death ensured his legend. Valentino was not the only Latin Lover of his time-he was simply the most loved.
SON OF SHEIK (1926)

"The Delicious Little Devil" (1919) Valentino

"The Delicious Little Devil " (1919) is a silent comedy that stars the largely forgotten Mae Murray and the legendary Rudolph Valentino in an early role. Directed by Robert Z. Leonard, this light-hearted comedy begins with Mary McGuire, played by Mae Murray, working as a coat and cloak check girl. Mary winds up getting fired from her job when she wears one of the customer's garments and dances around it. Disappointed because she not only loses her job but her father and uncle are so lazy that they expect her to support them, Mary decides to apply for a job as a hostess and dancer at the "Peach Tree Inn." The proprietor tells her that he is looking for a woman "with a past." Mary, who is a virtuous young girl with no past at all, lies, pretending to be the notorious European dancer Gloria De Moine in order to get the job. Even though Mary's dancing ability is obviously lacking as she whirls around the dance floor, the public loves all of her silly dance numbers and outrageous costumes. She becomes a sensation and starts making a lot of money. Every night in a seat of honor is Jimmy Calhoun, played by Rudolph Valentino, the son of a local millionaire. Jimmy is truly smitten with Mary and wants to marry her. However, Michael Calhoun does not like his son getting involved with a dancer and starts investigating the young woman. In the meantime, Gloria De Moine's ex-lover, the Duke, arrives at the "Peach Tree Inn." Realizing he will expose her for a fraud, Mary tries to run away. Unfortunately, the Duke follows her and tries to force himself on her. What will happen to Mary? You will have to watch the film to find out.

"The Delicious Little Devil " was considered a "lost" film until a print was found in 1991 by the Nederlands Filmmuseum. This film is particularly valuable in that it is one of the few of the silent screen superstar Mae Murray known to exist. Even though TCM broadcasts "The Delicious Little Devil" when presenting Valentino films, Mae Murray is the star and he only has a supporting role. Murray was a popular star of early films, but her name has slipped out of the consciousness of popular culture. During the teen years, Murray's style reflected the Victorian era's wholesome, virtuous girls. She quickly remade her image in the Roaring Twenties' style of sharp hair designs and reconstructive makeup. Her famous bee-stung lips were the vogue in the 1920's, exemplified by many leading ladies of the screen. Murray was a fascinating dancer and skillful in light comedy. "The Delicious Little Devil" is a funny and entertaining film. Murray is so sweet and amusing. The scene in which she impersonates Mary Pickford is hilarious. Only fifty five minutes in duration, this little comedy is a delightful glimpse of the early days of the Jazz Age with the charming Mae Murray and the exceedingly handsome Valentino.

"Beyond the Rocks" (1922) Rudolph Valentino

"Beyond the Rocks" (1922) is a silent romantic melodrama that stars film legends Rudolph Valentino and Gloria Swanson at the height of their careers and sex appeal. Directed by Sam Wood and based on a novel by Elinor Glyn, the film is actually a soap opera where the two stars wear gorgeous clothes while they suppress their desires for each other in exotic locales. The story begins in the British seaside village of Dorset. Swanson plays Theodora Fitzgerald, the loving teenage daughter of kindly but broke Captain Fitzgerald. She falls overboard while rowing a boat and is rescued from drowning by the ravishing Lord Hector Bracondale, played by Rudolph Valentino. Soon after Theodora dries off she meets her betrothed, an old, ailing millionaire named Josiah Brown. She is disappointed, but for the sake of her broke father and unattractive older sisters, marries him. Theodora runs into Lord Bracondale while staying at the Swiss chalet where she is honeymooning with Josiah Brown. This time Lord Bracondale winds up rescuing Theodora from falling off a mountain during a climbing expedition on the Alps. Lord Bracondale falls madly in love with Theodora, but she remembers her wedding vows and begs him not to pursue her. Fearing her growing attraction to Lord Bracondale, Theodora leaves to Paris with her husband. However, the smitten Lord Bracondale follows her from the Alps to Paris to London. At this point, Josiah Brown comes to the conclusion that his wife is in love with another man and abruptly departs for a North African archaeological expedition he financed. The ending is surprising.

"Beyond the Rocks" was long considered one of the great "lost" films from Hollywood's Golden Age and its rediscovery in 2003 by the Nederlands Filmmuseum made headlines around the world. Although"Beyond the Rocks" should not be mistaken for a masterpiece of the silent cinema, it is a very good romance film that revels in its own adventures from the English coast to the Alps and to the Sahara Desert. While the plot might seem ridiculous today, it was the norm in the 1920's. Elinor Glyn, who wrote the screenplay based on her once-controversial novel, was brought to Hollywood by Famous Players -Lasky to advise film makers on the fine points of sexual attractiveness. Appalled by the lack of appeal of Hollywood's leading men, Glyn found that Rudolph Valentino was a new type of exotic hero who could do well in the novels she wrote and promoted. She announced that Valentino, like Clara Bow, had what she called "It," a charismatic quality she claimed was more important than sex appeal. Glyn was thought to have taught Valentino the little trick of brushing a woman's palm with his lips rather than kissing the back of her hand in the accepted manner. "Beyond the Rocks" pleased audiences but not critics. However, the female audience, in particular, didn't care what the mostly male critics had to say about Valentino. They thought he was wonderful and made him a star. Valentino made women swoon and annoyed men. He was not the only Latin Lover of his time, but he was the favorite. "Beyond the Rocks" is an enjoyable experience, especially for fans of the two stars. Both Valentino and Swanson are charming in this film. Their performances are subtle and believable. Swanson retains her poise and expresses a great deal with her eyes. Valentino shows his emotions with graceful movements and precise gestures. Both Swanson and Valentino are delightful to look at and are given the opportunity to show off a number of elaborate costumes. Most of the film looks beautiful with its sepia tones even though there is some nitrate decomposition. "Beyond the Rocks" is a product of its time and modern viewers should not lose perspective that this film was made almost ninety years ago. Each generation has its own approach to romance and this one is early 1920's style at its best.

http://www.youtube.com/watch?v=8Gz50OlxCEY

Click to view restoration of Beyond the Rocks.