Rudolph Valentino Material

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http://oac.cdlib.org/findaid/ark:/13030/c8d220vw No online items Rudolph Valentino material Special Collections Margaret Herrick Library© 2014 Rudolph Valentino material 226 1 Descriptive Summary Title: Rudolph Valentino material Date (inclusive): 1914-1926 Collection number: 226 Creator: Valentino, Rudolph Extent: 5 linear feet of papers. Repository: Margaret Herrick Library. Academy of Motion Picture Arts and Sciences. Languages: English Access Available by appointment only. Publication rights Property rights to the physical object belong to the Margaret Herrick Library. Researchers are responsible for obtaining all necessary rights, licenses, or permissions from the appropriate companies or individuals before quoting from or publishing materials obtained from the library. Preferred Citation Rudolph Valentino material, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. Acquisition Information Gift of Mr. and Mrs. William McGee, 1987 Biography Rudolph Valentino was an Italian-born actor. He arrived in Hollywood in 1917, after a stint in New York. His appearance in THE SHEIK (1921) and other films of the early 1920s brought him stardom and celebrity. Collection Scope and Content Summary The Rudolph Valentino material spans the years 1914-1926 and encompasses 5 linear feet. The collection consists of items purchased at the 1926 auction of the estate of Rudolph Valentino, along with the auction catalog. There are 49 leather-bound volumes of "The Harvard Classics," an anthology of classic works from world literature, compiled and edited by Harvard University president Charles W. Eliot. Each volume bears Rudolph Valentino's book plate. There is also a photograph album for MONSIEUR BEAUCAIRE (1924). Arrangement Arranged in the following series: 1. Books; 2. Oversize; 3. Vertical files. Indexing Terms Valentino, Rudolph , 1895-1926--Archives. actors Rudolph Valentino material 226 2.

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Rudolph Valentino Living at 50 West in 1923
100 years at 50 west Rudolph Valentino Living at 50 West in 1923 Brooklyn Standard Union, May 27, 1923, p. 8 Home – Street – Prehistory – Building – Ads – Residents – Actors – Playlist 100 years at 50 west From Photoplay, Vol. 24 (July-December) 1923, p. 126: Jerry of Sherman, Texas. — Men as I before, and sapiently, have observed are but human. Rodolph Valentino is a man, therefore human. Hence he will be glad to know that you, who write backhandedly under the soubriquet of Jerry, "worship at his shrine as ardently as any flapper. He's so disgustingly handsome." Suspicion stirs deep in my being, Jerry. Maybe you are a man and envious of the darkeyed one's reign over the hearts of the women in his audiences. I am not sure. If you are Mr. Jerry instead of Miss Jerry you would not be likely to say, "His eyes intrigue me, exceedingly, oh where, oh where, can I obtain a photograph of 'The Young Rajah'?" Write him care of his headquarters, 50 West 67th Street, New York, N. Y. From New York Times, August 25, 1926, p.1: Thousands in Riot at Valentino Bier; More Than 100 Hurt – Crowd at Funeral Church Is Out of Police Control at Times – Big Windows Crash…Traffic Interrupted, Mounted Policemen Charge Again and Again in Vain. More than 30,000 persons tried to get a two-second glimpse of the body of Rudolph Valentino, lying in state at Campbell’s Funeral Church, on Broadway at Sixty-sixth Street, yesterday afternoon and last night. As a result, the Home – Street – Prehistory – Building – Ads – Residents – Actors – Playlist 100 years at 50 west police were wholly unable to control the situation for several hours….
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Valentino, Rudolph (1895-1926) by Peter J
Valentino, Rudolph (1895-1926) by Peter J. Holliday Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com The most popular of silent-screen stars, the darkly handsome Valentino gazed at his heroines with a mixture of passion and melancholy that sent chills down female (and some male) spines. To American women he represented mysterious, forbidden eroticism, the fulfillment of dreams of illicit love and uninhibited passion; but most male moviegoers found his acting ludicrous, his manner foppish, and his screen character effeminate. His androgynous persona, at once assertively virile and gracefully sensitive, threatened traditional images of American masculinity in a crucial period of cultural change. Top: A Paramount Born Rodolfo Alfonzo Raffaele Pierre Philibert Guglielmi in Castellaneta, Italy in 1895, Pictures poster for The Valentino emigrated to New York in 1913. There he took a succession of jobs, including Shiek (1921). Above: Rudolph dishwasher and waiter, and was booked by the police several times on suspicion of Valentino (left) with petty theft and blackmail. Elinor Glyn. In 1917 he traveled to Hollywood where he landed bit parts in the movies, mostly as an exotic dancer or villain. He married bisexual actress Jean Acker in 1920, but the marriage was never consummated. Valentino's big break came in 1921 when Metro screenwriter June Mathis insisted that director Rex Ingram give him the lead in The Four Horsemen of the Apocalypse. The film catapulted Valentino into stardom. He reached new heights with The Sheik (1921) for Paramount. During the film's exhibition women fainted in the aisles.
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RUDOLPH VALENTINO January 1971
-,- -- - OF THE SON SHEIK . --· -- December 1970 -.. , (1926) starring • January 1971 RUDOLPH VALENTINO ... r w ith Vilma Banky, Agnes Ayres, George Fawcett, Kar l Dane • .. • • i 1--...- \1 0 -/1/, , <;1,,,,,/ u/ ~m 11, .. 12/IOJ,1/, 2/11.<. $41 !!X 'ifjl!/1/. , .....- ,,,1.-1' 1 .' ,, ,t / /11 , , . ... S',7.98 ,,20 /1/ ,. Jl',1,11. Ir 111, 2400-_t,' (, 7 //,s • $/1,!!.!!8 "World's .. , . largest selection of things to show" THE ~ EASTIN-PHELAN p, "" CORPORATION I ... .. See paee 7 for territ orial li m1la· 1;on·son Hal Roach Productions. DAVE PORT IOWA 52808 • £ CHAZY HOUSE (,_l928l_, SPOOK Sl'OO.FI:'\G <192 i ) Jean ( n ghf side of the t r acks) ,nvites t he Farina, Joe, Wheeze, and 1! 1 the Gang have a "Gang•: ( wrong side of the tr ack•) l o a party comedy here that 1\ ,deal for HallOWK'n being at her house. 6VI the Gang d~sn't know that a story of gr aveyard~ - c. nd a thriller-diller Papa has f tx cd the house for an April Fool's for all t ·me!t ~ Day party for his fr i ends. S 2~• ~·ar da,c 8rr,-- version, 400 -f eet on 2 • 810 303, Standord Smmt yers or J OO feet ? O 2 , v ozs • Reuulart, s11.9e, Sale reels, 14 ozs, Regularly S1 2 98 , Sale Pnce Sl0.99 , 6o 0 '11 Super 8 vrrs•OQ, dSO -fect,, 2-lb~ .• S l0.99 Regu a rly SlJ 98. Sale Pn ce I Sl2.99 425 -fect I :, Regularly" ~ - t S12 99 400lc0 t on 8 o 289 Standard 8mm ver<lon SO r Sate r eels lJ o,s-.
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The Inventory of the Larry Carr Collection #966
The Inventory of the Larry Carr Collection #966 Howard Gotlieb Archival Research Center /\ : 1., CARR, LARRY II I Gift of his estate, Feb. 1987 1f1boxes, packages The collection contains research (mainly clippings, photographs) publicity and text for his two books: FOUR FABULOUS FACES: The Evolution and Metamorphosis of Garbo, Swanson, Crawford, Deitrich, 1970; and MORE FABULOUS FACES: The Evolution and Metamorphosis of Dolores Del Rio, Myrna Loy, Carole Lombard, Bette Davis, and Katharine Hepburn, Doubleday, 1979. Also research for other proposed books, many photographs of himself, some correspondence: with Barry Norton (see Scrapbook, Box 10) and with Joan Crawford, (Box 8). There are many movie magazine covers, dating from the 1930s (ca, 700?), a number of printed calendar pin-ups done by Rolf Armstrong, who also did many of the film magazine covers. Some pastel originals of film stars, and some covers for Parents magazine, by Charles Gates Sheldon, 1884-1961, Box 1 Clips, photos, include Blechman photos of Gloria Swanson Box 2 Photos, clips for MORE FABULOUS FACES Box 3 MORE FABULOUS FACES and FOUR FABULOUS FACES, Some text and clips Box 4 Movie magazine covers; 3 drawings done from the covers by Larry Carr. Covers and photos originally in very large pale green scrapbook labelled "Barbara Ann Lecocq" Box 5 Photographs Box 6 Photos for MORE FABULOUS FACES consisting of envelopes labelled "Extras" for Davis, Lombard, Hepburn, Loy, Del Rio. Envelope "M.F.F. Stat Negatives". 2 black binders of film magazine covers Box 7 Photos and clips, including many photos of Larry Carr. Box 8 Photos of Larry Carr, Newspaper clips of Garbo, Dietrich, Crawford and "Crawford Research", clips and letters from her.
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Pueblo Prints a PEEK EACH WEEK F|E LA at by VERDAD
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Cobra Essay by David Shepard
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Greater Mexico's Ramón Novarro
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June Mathis's Valentino Scripts: Images of Male "Becoming" After the Great War
June Mathis's Valentino Scripts: Images of Male "Becoming" After the Great War Thomas J. Slater Cinema Journal, 50, Number 1, Fall 2010, pp. 99-120 (Article) Published by University of Texas Press For additional information about this article http://muse.jhu.edu/journals/cj/summary/v050/50.1.slater.html Access Provided by University of California @ Santa Cruz at 03/30/11 4:04PM GMT June Mathis’s Valentino Scripts: Images of Male “Becoming” After the Great War by THOMAS J. SLATER Abstract: In the screenplays she wrote for Rudolph Valentino in 1921–1922, June Mathis redefi ned masculinity according to a socially useful, sexually open, anti- materialist, non- violent model, an achievement that deserves recognition because it expands our under- standing of how American culture, and especially women, responded to the Great War. aylyn Studlar defi nes the immediate post–World War I years as “an era marked by fears of national and masculine enfeeblement” in which “there was a veritable obsession with the attainment of masculinity.”1 Many writers G at the time suggested these fears were based on “a causal connection be- tween the standard of masculinity enforced by American capitalism and the sexual, erotic, emotional defi ciencies of American men.”2 Men therefore felt threatened when women turned “matinee idols” into cult hero objects of sexual desire, and none seemed more threatening than Rudolph Valentino. For his success, he was of- ten vilifi ed by male journalists because, as Miriam Hansen states, “Valentino called into question the very idea of a stable sexual identity.”3 During the early 1920s, writes Studlar, “Valentino had been culturally poised between a traditional order of masculinity and a utopian feminine ideal, between an enticing sensual excess ascribed to the Old World and the functional ideal of the New.”4 This transitional status was established not through mise- en- scène alone, 1 Gaylyn Studlar, This Mad Masquerade: Stardom and Masculinity in the Jazz Age (New York: Columbia University Press, 1996), 12, 13.
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The Four Horsemen of the Apocalypse by Randy Haberkamp
The Four Horsemen of the Apocalypse By Randy Haberkamp After D.W. Griffith’s controversial “The Birth of a Nation” (1915) rev- olutionized the American film in- dustry and altered its audience’s expectations, it was arguably “Four Horsemen of the Apocalypse” (1921) that was the next great ad- vancement of American cinematic style and storytelling. Dazzling in its scope, it would set the bar for the Silent Era epics that followed such as “The Ten Commandments” (1923), “The Covered Wagon” (1923), “The Big Parade” (1925), “Ben-Hur” (1926), and “Wings” (1927). It inspired future dynamic filmmakers including David Lean This lobby card prominently features Valentino in his star-making tango scene. and Michael Powell. It made a star Courtesy Library of Congress Prints & Photographs Online Collection. of Rudolph Valentino and reached a new level of art direction and design that is still im- pressive today, yet its director, Rex Ingram, and the can have on our impressions of an artist. Though he film itself are not as widely remembered nor ac- began directing features in 1916 after some early claimed, as they should be. work as an actor and writer, few of his films made before “Four Horsemen” survive, and while those Though a lover of silent film all my life, it was “Four that do survive offer some glimpses of his artistic Horsemen of the Apocalypse” in a restored version style, they are generally in such poor condition as to overseen by Kevin Brownlow that illustrated so com- make it nearly impossible to evaluate them properly. pletely how important film preservation is, and how Ingram’s later work consists of several excellent ex- mind-blowing a successful restoration can be.
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In Hollywood's Early Years, Stars Like Rudolph Valentino and Greta
BY ARTS SOCIETY LECTURER GERI PARLBY In Hollywood’s early years, stars like Rudolph Valentino and Greta Garbo may have been the public face of the movies, but it was the people who worked behind the cameras who really made the magic happen. They turned hat-check girls, waitresses, cowboys and cab drivers into silver screen icons. Our expert, Geri Parlby, reveals their stories 1. THE SEXUAL ETIQUETTE COACH One of Hollywood’s most unusual coaches was the English romantic novelist and script writer Elinor Glyn, sexual etiquette style guru to the stars. Her romantic novels were the early-20th-century version of Fifty Shades of Grey. They often featured voluptuous ladies reclining on tiger skins, giving rise to the ditty: Would you like to sin / with Elinor Glyn / on a tiger skin? Or would you prefer / to err with her /on some other fur? One of Glyn’s most able pupils was the Italian-born heart-throb Rudolph Valentino. She taught him to kiss the open palm of his leading lady’s hand in the 1922 film adaptation of her book Beyond the Rocks. Apparently that one kiss caused women in movie theatres across the world to swoon. Strangely, Valentino was playing an English lord in the film, which was a departure from his usual role of Latin lover. Having a Latin lover as male lead in a film was a guaranteed box office draw in the 1920s. There was even a set type of characteristics for such a leading man. He had to be handsome, with dark hair and a Mediterranean complexion.
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Aclvertiaement the AMICA NEWS BULLETIN
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Before the Sheik: Rudolph Valentino and Sexual Melancholia
Before The Sheik: Rudolph Valentino and Sexual Melancholia. Abstract: Once he was cast as the powerful, yet sexually-on-display Ahmed Ben Hassan in The Sheik (George Melford, 1921), Rudolph Valentino rose to super-stardom, the bearer of a conflicted image defined by a fragmented patriarchal discourse. The enduring resonance of the ‘Sheik’ identification, combined with a lack of critical attention to Valentino’s performance, have obscured the different qualities he projected in earlier leading roles, at the dawn of his star trajectory. This paper focuses on Valentino’s three other surviving films from 1921, which preceded The Sheik in rapid succession. It argues that here Valentino’s narrative roles, and most especially his performance, are increasingly defined by a sense of loss, powerlessness, and lack of control, informing his predominantly erotic function on screen. Drawing on the work of Leo Bersani and Sigmund Freud, this paper highlights how a key strand of Valentino’s performance suggests the body’s failure to control and connect with the world beyond the Self. In an expression of sexual melancholia, Valentino’s intensity of desire, mourning, and pain marks his physical presence, constructing an erotic identity that attempts yet always fails to defer loss. In contrast with his ‘sexual menace’ image, cristallised by the Sheik persona and tempered by his ambivalent relation to the gaze, in these earlier films Valentino provides a different antidote to patriarchal brutality, embodying the essentially melancholic nature of erotic experience. ………………………………………………………………………………………….. 1 The opening of Camille (Ray C. Smallwood, 1921) introduces its male protagonist Armand Duval (Rudolph Valentino, fig.1) through his first, fateful encounter with Marguerite Gautier (Alla Nazimova, fig.2), the woman he will be obsessed with throughout the film.
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