Editing Rudolph Valentino (section)

==Film career==
===Before fame===
[[File:Rudolph Valentino in Motion Picture Studio Directory and Trade Annual, 1918.jpg|thumb|left|Valentino in an advertisement for ''[[The Married Virgin]]'' (1918) in which he portrays a villain]]
In 1917, Valentino joined an [[operetta]] company that traveled to [[Utah]], where it disbanded. He then joined an [[Al Jolson]] production of ''Robinson Crusoe, Jr.'', which was travelling to Los Angeles. By fall, he was in San Francisco with a bit part in a theatrical production of ''Nobody Home''. While in town, Valentino met actor [[Norman Kerry]], who convinced him to try a career in cinema, which was still in the [[silent film]] era.<ref name="leider81">[[#Leider|Leider]], pp. 81–83</ref>

Valentino and Kerry moved back to Los Angeles and became roommates at the [[Hotel Alexandria|Alexandria Hotel]]. He continued dancing, teaching dance, and building up a following that included older female clientele who would let him borrow their luxury cars.<ref name="leider85">[[#Leider|Leider]], pp. 85–86</ref> At one point after the United States entered [[World War I]], both Kerry and Valentino tried to get into the Canadian Air Force to fly and fight in France.<ref>''The Legend of Rudolph Valentino'' (1962) CBS produced by David Wolper</ref>

With his dancing success, Valentino found a room of his own on [[Sunset Boulevard]] and began actively seeking screen roles. His first part was as an extra in the film ''Alimony'', moving on to small parts in several films. Despite his best efforts, he was typically cast as a "heavy" (villain) or gangster.<ref name="leider61"/> At the time, the archetypal major male star was [[Wallace Reid]], with a fair complexion, light eyes, and an [[All-American]] look, with Valentino the opposite;<ref name="leider86">[[#Leider|Leider]], pp. 86–88</ref> he eventually supplanted [[Sessue Hayakawa]] as Hollywood's most popular "exotic" male lead.<ref>Dave Kehr, "[https://www.nytimes.com/2008/03/25/movies/homevideo/25dvds.html New DVDs Review]," ''New York Times,'' March 25, 2008. Retrieved June 16, 2008.</ref><ref>[[Daisuke Miyao|Miyao, Daisuke]], ''[[Sessue Hayakawa: Silent Cinema and Transnational Stardom]].'' Duke University Press. 2007.</ref>

By 1919, he had carved out a career in bit parts. It was a bit part as a "cabaret parasite" in the drama ''[[Eyes of Youth]]'', starring [[Clara Kimball Young]], that caught the attention of screenwriter [[June Mathis]], who thought he would be perfect for her next movie.<ref name="botham">{{cite book |last=Botham |first=Noel |author-link=Noel Botham |title=Valentino: The First Superstar |publisher=Metro Publishing Ltd. |year=2002 |isbn=1-84358-013-6 |url=https://archive.org/details/valentino00noel }}</ref> Young would later say it was she and [[Lewis J. Selznick]] who discovered him, and that they were disappointed when Valentino accepted a lucrative offer at [[Metro Pictures|Metro]].<ref>{{Cite book|url=https://books.google.com/books?id=L1fs4sp3lnQC&q=clara+kimball+young+florence&pg=PA18|title=Maryjane's Notebook: Memoirs of a Hollywood Dress Designer|isbn=9781453555149|last1=Venola|first1=Penelope|last2=Taylor|first2=Guy C.|date=August 31, 2010|publisher=Xlibris Corporation }}</ref>

He appeared as second lead in ''[[The Delicious Little Devil]]'' (1919) with star [[Mae Murray]]. In 1919, Valentino impulsively married actress [[Jean Acker]]. Their marriage was purportedly {{says who|date=April 2024}} never consummated.

===Acting===
[[File:Valentino Four Horsemen 1921.jpg|thumb|180px|Publicity portrait of Valentino as Julio Desnoyers in the 1921 Metro Pictures production ''The Four Horsemen of the Apocalypse'']]

Displeased with playing "heavies," Valentino briefly entertained the idea of returning to New York permanently. He returned for a visit in 1917, staying with friends in [[Greenwich Village]], eventually settling in [[Bayside, Queens]]. There he met [[Paul Ivano]], who would greatly help his career.<ref name="leider111" />

While traveling to [[Palm Springs, California]], to film ''Stolen Moments'', Valentino read the novel ''[[The Four Horsemen of the Apocalypse (novel)|The Four Horsemen of the Apocalypse]]'' by [[Vicente Blasco Ibáñez]].<ref name="leider111">[[#Leider|Leider]], pp. 111–130</ref> Seeking out a trade paper, he discovered that [[Metro Pictures|Metro]] had bought the film rights to the story. In New York, he sought out Metro's office, only to discover that June Mathis had been trying to find him. She cast him in the role of Julio Desnoyers. For the director, Mathis had chosen [[Rex Ingram (director)|Rex Ingram]], with whom Valentino did not get along, leading Mathis to play the role of peacekeeper between the two.<ref name="leider111" />

''[[The Four Horsemen of the Apocalypse (film)|The Four Horsemen of the Apocalypse]]'' was released in 1921 and became a commercial and critical success. It was one of the first films to make $1,000,000 at the box office, the sixth-highest grossing silent film ever.<ref name="botham" /><ref>[http://www.cinemaweb.com/silentfilm/bookshelf/7_v_32_4.htm ''Biggest Money Pictures''.] {{webarchive|url=https://web.archive.org/web/20111105043830/http://www.cinemaweb.com/silentfilm/bookshelf/7_v_32_4.htm |date=November 5, 2011 }} CinemaWeb.com.</ref>

Metro Pictures seemed unwilling to acknowledge that it had made a star. Most likely due to Rex Ingram's lack of faith in Valentino, the studio refused to give him a raise beyond the $350 a week he had made for ''Four Horsemen''. For his follow-up film, they forced him into a bit part in a B-film called ''Uncharted Seas''. On this film, Valentino met his second wife, [[Natacha Rambova]].<ref name="leider111" /><ref name="leider131">[[#Leider|Leider]], pp. 131–150</ref> That same year, Valentino's legal wife, Jean Acker, successfully sued for divorce.

Rambova, Mathis, Ivano, and Valentino began work on the [[Alla Nazimova]] film ''[[Camille (1921 film)|Camille]]''. Valentino was cast in the role of Armand, Nazimova's love interest. The film, mostly under the control of Rambova and Nazimova, was considered too ''[[avant garde]]'' by critics and the public.<ref name="leider131" />

Valentino's final film for Metro was the Mathis-penned ''[[The Conquering Power]]''. The film received critical acclaim and did well at the box office.<ref name="leider131" /> After the film's release, Valentino made a trip to New York, where he met with several French producers. Yearning for Europe, better pay, and more respect, Valentino returned and promptly quit Metro.<ref name="leider131" />

===''The Sheik''===
[[File:ValentinoandJadaan.gif|thumb|left|Publicity photo for the 1926 release ''[[Son of the Sheik]]'' showing Valentino with "Jadaan", the [[Arabian horse|Arabian stallion]] in the film]]
After quitting Metro, Valentino took up with [[Famous Players–Lasky]], forerunner of the present-day [[Paramount Pictures]], a studio known for films that were more commercially focused. Mathis soon joined him, angering both Ivano and Rambova.<ref name="leider131" />

[[Jesse L. Lasky]] intended to capitalize on the star power of Valentino, and cast him in a role that solidified his reputation as the "Latin lover". In ''[[The Sheik (film)|The Sheik]]'' (1921), Valentino played the starring role of Sheik Ahmed Ben Hassan. The film was a major success and defined not only his career but his image and legacy. Valentino tried to distance the character from a [[stereotypical]] portrayal of an Arab man. Asked if Lady Diana (his love interest) would have fallen for a "savage" in real life, Valentino replied, "People are not savages because they have dark skins. The Arabian civilization is one of the oldest in the world ... the Arabs are dignified and keen-brained."<ref name = "leider170" />

Famous Players produced four more feature-length films over the next 15 months. His leading role in ''[[Moran of the Lady Letty]]'' was of a typical [[Douglas Fairbanks]] nature; however, to capitalize on Valentino's bankability, his character was given a Spanish name and ancestry.<ref name="leider170" /> The film received mixed reviews, but was still a hit with audiences.<ref name="leider170" />

In November 1921, Valentino starred alongside [[Gloria Swanson]] in ''[[Beyond the Rocks (film)|Beyond the Rocks]]''. The film contained lavish sets and extravagant costumes, though ''Photoplay'' magazine said the film was "a little unreal and hectic." Released in 1922, the film was a critical disappointment. Years after its release, ''Beyond the Rocks'' was thought to be [[lost film|lost]], save for a one-minute portion.<ref>{{cite news |url=http://findarticles.com/p/articles/mi_qn4159/is_20040418/ai_n12754168 |archive-url=https://web.archive.org/web/20090511074047/http://findarticles.com/p/articles/mi_qn4159/is_20040418/ai_n12754168/ |url-status=dead |archive-date=May 11, 2009 |title=Lost Swanson and Valentino classic is found |last=Carrell |first=Severin |date=April 18, 2004 |newspaper=The Independent on Sunday |access-date=April 5, 2008 }}</ref> But in 2002, the film was discovered by the Netherlands Film Museum. The restored version was released on DVD in 2006.<ref>{{cite news |url=https://www.nytimes.com/2006/07/11/movies/11dvd.html?_r=1&oref=slogin |title=New DVD's: 'Beyond the Rocks' |last=Kehr |first=Dave |date=January 11, 2006 |work=[[The New York Times]] |access-date=April 5, 2008 }}</ref>
[[File:Rudolph Valentino in the Blue Book of the Screen 02.jpg|thumb|Valentino as Juan Gallardo in ''Blood and Sand'' (1922)]]
[[File:Moran of the Lady Letty - scene - Dorothy Dalton and Rudolph Valentino - 1922.webm|thumbtime=1|thumb|Scene from the 1922 film ''[[Moran of the Lady Letty]]'', featuring [[Dorothy Dalton]] and Rudolph Valentino.]]

In February, 1922 ''[[Life (magazine)|Life]]'' magazine reported that, according to the Famous Players press office, Valentino would henceforth be known as "Rodolph" rather than "Rudolph."<ref>{{cite magazine |last=Sherwood |first=Robert E. |date=23 February 1922 |title=The Silent Drama |url=https://archive.org/details/sim_life_1922-02-23_79_2051/page/22/mode/2up?view=theater |magazine=Life |page=22 |access-date=15 March 2024}}</ref>

In 1922, Valentino began work on another Mathis-penned film, ''[[Blood and Sand (1922 film)|Blood and Sand]]''. He played the lead—[[Torero (bullfighter)|bullfighter]] Juan Gallardo—and co-starred with [[Lila Lee]] and [[Nita Naldi]]. Initially believing the film would be shot in [[Spain]], Valentino was upset to learn that the studio planned on shooting on a Hollywood back lot. He was further irritated by changes in production, including a director of whom he did not approve.<ref>{{cite book |last=Porter |first=Darwin |title=Hollywood's Silent Closet |publisher=Blood Moon Productions Ltd. |year=2001 |pages=497–498 |isbn=0-9668030-2-7}}</ref>

After finishing the film, Valentino married Rambova, which led to a bigamy trial, as he had been divorced from his first wife, Jean Acker, for less than a full year, as required by California law at the time. The trial was a sensation and the pair was forced to have their marriage annulled and to be separated for a year. Despite the trial, the film was still a success, with critics calling it a masterpiece on par with ''[[Broken Blossoms]]'' and ''Four Horsemen''. ''Blood and Sand'' became one of the four top-grossing movies of 1922, breaking attendance records, and grossing $37,400 at the Rivoli Theatre alone. Valentino considered this one of his best films.<ref name="leider197">[[#Leider|Leider]], pp. 197–231</ref>

During his forced break from Rambova, the pair began working separately on the Mathis-penned ''[[The Young Rajah]]''. Only fragments of this film, recovered in 2005, still remain.<ref name="leider197" /> The film did not live up to expectations and underperformed at the box office. Valentino felt he had underperformed in the film, being upset over his separation with Rambova.<ref name="leider197" /> Missing Rambova, Valentino returned to New York after the release of ''The Young Rajah''. They were spotted and followed by reporters constantly. During this time, Valentino began to contemplate not returning to Famous Players, although Jesse Lasky already had his next picture, ''The Spanish Cavalier'', in preparation. After speaking with Rambova and his lawyer Arthur Butler Graham, Valentino declared a 'one-man strike' against Famous Players.<ref name="leider197" />

===Strike against Famous Players===
Valentino went on strike for financial reasons. At the time of his lawsuit against the studio, he was earning $1,250 per week, with an increase to $3,000 after three years. This was $7,000 per week less than Mary Pickford made in 1916.<ref>[[#Leider|Leider]], p. 188</ref> He was also upset over the broken promise of filming ''Blood and Sand'' in Spain, and the failure to shoot the next proposed film in either Spain or at least New York. Valentino had hoped while filming in Europe he could see his family, whom he had not seen in 10 years.<ref name="leider170">[[#Leider|Leider]], pp. 170–196</ref>

In September 1922, he refused to accept paychecks from Famous Players until the dispute was solved, although he owed them money he had spent to pay off [[Jean Acker]]. Angered, Famous Players, in turn, filed suit against him.<ref name = "leider232" />

Valentino did not back down,<ref name="leider232" /> and Famous Players realized how much they stood to lose. In trouble after shelving [[Roscoe Arbuckle]] pictures, the studio tried to settle by upping his salary from $1,250 to $7,000 a week. ''[[Variety (magazine)|Variety]]'' erroneously announced the salary increase as a "new contract" before news of the lawsuit was released, and Valentino angrily rejected the offer.<ref name="leider197" />

Valentino went on to claim that artistic control was more of an issue than the money. He wrote an open letter to ''Photoplay'' magazine, titled "Open Letter to the American Public", in which he argued his case,<ref name="leider197" /> although the average American had trouble sympathizing, as most made $2,000 a year. Famous Players made their own public statements deeming him more trouble than he was worth (the divorce, bigamy trials, debts) and that he was temperamental, almost diva-like. They claimed to have done all they could and that they had made him a real star.<ref name="leider232" />

Other studios began courting him. [[Joseph Schenck]] was interested in casting his wife, [[Norma Talmadge]], opposite Valentino in a version of ''[[Romeo and Juliet]]''. June Mathis had moved to [[Goldwyn Pictures]], where she was in charge of the ''[[Ben-Hur (1925 film)|Ben-Hur]]'' project, and interested in casting Valentino in the film. However, Famous Players exercised its option to extend his contract, preventing him from accepting any employment other than with the studio. By this point, Valentino was about $80,000 in debt. He filed an appeal, a portion of which was granted. Although he was still not allowed to work as an actor, he could accept other types of employment.<ref name="leider232" />

===Mineralava Dance Tour===
In late 1922, Valentino met George Ullman, who soon became his manager. Ullman had previously worked with Mineralava Beauty Clay Company, and convinced them that Valentino would be perfect as a spokesman with his legions of female fans.<ref name="leider232">[[#Leider|Leider]], pp. 232–255.</ref>

The tour was a tremendous success, with Valentino and Rambova performing in 88 cities in the United States and Canada. In addition to the tour, Valentino also sponsored Mineralava beauty products and judged Mineralava-sponsored beauty contests.<ref>{{cite web|url=http://www.midnightpalace.com/index.php?option=com_content&task=view&id=27|title=Rudolph Valentino & the Mineralava Tour of 1923|last=Lorusso |first=Edward |access-date=April 12, 2008 }}</ref> One beauty contest was filmed by a young [[David O. Selznick]], who titled it ''Rudolph Valentino and his 88 Beauties.''<ref>{{cite web|url=http://emol.org/emclub/?q=rudolphvalentino|title=Remembering Rudolph Valentino|date=September 6, 2005|magazine=Entertainment Magazine|access-date=April 12, 2008 }}</ref>

===Return to films===
[[File:Rudolph valentino i sangue e arena, 1922.jpg|thumb|From ''[[A Sainted Devil]]'' (1924)]]
Valentino returned to the United States in reply to an offer from Ritz-Carlton Pictures (working through Famous Players), which included $7,500 a week, creative control, and filming in New York.<ref name="leider256">[[#Leider|Leider]], pp. 256–279.</ref> Rambova negotiated a two-picture deal with Famous Players and four pictures for Ritz-Carlton.<ref name="leider280">[[#Leider|Leider]], pp. 280–300</ref> He accepted, turning down an offer to film an Italian production of ''Quo Vadis'' in Italy.<ref name="leider256" />

The first film under the new contract was ''[[Monsieur Beaucaire (1924 film)|Monsieur Beaucaire]],'' wherein Valentino played the lead, the Duke of Chartres. The film did poorly and American audiences found it "effeminate".<ref name="leider301">[[#Leider|Leider]], pp. 301–325</ref> The failure of the film, under Rambova's control, is often seen as proof of her controlling nature and later caused her to be barred from Valentino sets.<ref name="leider280" /> Valentino made one final movie for Famous Players. In 1924, he starred in ''A Sainted Devil,'' now one of his lost films. It had lavish costumes, but apparently a weak story. It opened to strong sales, but soon dropped off in attendance and ended up as another disappointment.<ref name="leider301" />

With his contract fulfilled, Valentino was released from Famous Players, but was still obligated to Ritz-Carlton for four films. His next film was a pet project titled ''The Hooded Falcon.'' The production was beset with problems from the start, beginning with the script written by June Mathis. The Valentinos were dissatisfied with Mathis's version and requested that it be rewritten.<ref>[[#Morris|Morris]], pp. 156, 157</ref> Mathis took it as a great insult and did not speak to Valentino for almost two years.<ref>[[#Leider|Leider]], pp. 323–324</ref> While Rambova worked designing costumes and rewriting the script for ''Falcon,'' Valentino was persuaded to film ''[[Cobra (1925 film)|Cobra]]'' with [[Nita Naldi]]. He agreed only on condition that it not be released until after ''The Hooded Falcon'' debuted.<ref>[[#Morris|Morris]], p. 159</ref>
[[File:Rudolph Valentino with beard 1924.jpg|thumb|Valentino sporting a [[Van Dyke beard]], 1924]]
After filming ''Cobra,'' the cast of ''The Hooded Falcon'' sailed for France to be fitted for costumes. After three months, they returned to the United States, where Valentino's new beard, which he had grown for the film, caused a sensation.<ref>[[#Leider|Leider]], pp. 318–319</ref> "I opened once a paper and I tell you what was in. It was Rudolph Valentino with a beard upon his chin. My heart stopped off from beating and I fainted dead away, and I never want to come to life until the judgement day," was soon printed in ''[[Photoplay]].''<ref>{{cite journal |last=Wells |first=Margaret Caroline |date=February 1925 |title=What!!! Valentino??? |url=https://archive.org/stream/pho28chic#page/n199/mode/2up |journal=[[Photoplay]] |location=New York |publisher=Photoplay Publishing Company |access-date=August 21, 2015 }}</ref> The cast and crew left for Hollywood to begin preparations for the film, but much of the budget was taken up during preproduction.<ref>[[#Leider|Leider]], p. 323</ref> Due to the Valentinos' lavish spending on costumes and sets, Ritz-Carlton terminated the deal with the couple, effectively ending Valentino's contract with them.<ref>[[#Morris|Morris]], pp. 160, 164</ref>

===United Artists===
[[File:Son of the Sheik.jpg|thumb|Poster for ''The Son of the Sheik'']]
During the filming of ''Monsieur Beaucaire'', both [[Charlie Chaplin]] and [[Douglas Fairbanks]] approached Valentino privately, due to his contract with Ritz-Carlton, about joining with [[United Artists]].<ref name="leider280" /> Valentino's contract with United Artists provided $10,000 a week for only three pictures a year, plus a percentage of his films. The contract excluded Rambova from production of his films and the film set. Valentino's acceptance of the terms caused a major rift in his marriage to Rambova. George Ullman, who had negotiated the contract with United Artists, offered Rambova $30,000 to finance a film of her own. It became her only film, titled ''[[What Price Beauty?]]'' and starred [[Myrna Loy]].<ref>[[#Morris|Morris]], pp. 162–164</ref>
[[File:The Eagle 1925 Rudolph Valentino (cropped).jpg|left|thumb|''The Eagle'' (1925), starring Rudolph Valentino]]
Valentino chose his first UA project, ''[[The Eagle (1925 film)|The Eagle]]''. With the marriage under strain, Valentino began shooting and Rambova announced that she needed a "marital vacation".<ref>[[#Morris|Morris]], p. 169</ref> During the filming of ''The Eagle'', rumors of an affair with co-star [[Vilma Bánky]] were reported and ultimately denied by both Bánky and Valentino.<ref name="botham" /> The film opened to positive reviews, but a moderate box office.<ref name="leider326">[[#Leider|Leider]], pp. 326–350</ref>

For the film's release, Valentino travelled to London, staying there and in France, spending money with abandon while his divorce took place. Quite some time elapsed before he made another film, ''[[The Son of the Sheik]],'' despite his hatred of the sheik image.<ref name="leider351">[[#Leider|Leider]], pp. 351–370</ref> The film began shooting in February 1926, with Valentino given his choice of director, and pairing him again with Vilma Bánky. The film used the authentic costumes he bought abroad and allowed him to play a dual role. Valentino was ill during production, but he needed the money to pay his many debts. The film opened on July 9, 1926, to great fanfare. During the premiere, Valentino was reconciled with Mathis; the two had not spoken in almost two years.<ref name="leider351" />