Introduction: Olympus Moves to Hollywood

Home , Flesh and the Devil, Greta Garbo, Herbert Brenon, Ivor Novello, Ramon Novarro, Star system (filmmaking)

Notes

1. ‘Olympus Moves to Hollywood’, Photoplay, April 1928, 34–36, 92, (p. 34). 2. Richard Dyer, Heavenly Bodies: Film Stars and Society (London: BFI, 1986), p. 121. 3. There are accounts of sculpture being animated for ritual and theatre in antiquity, most famously by Hero of Alexandria, whose works included a moving statue of Dionysus. See: Campbell Bonner, ‘A Dionysiac Miracle at Corinth’, American Journal of Archaeology, July–September 1929, 33(3), 368–375. 4. See Richard deCordova, Picture Personalities: The Emergence of the Star System in America (Urbana, IL: University of Illinois Press, 1990). 5. Michael Williams, Ivor Novello: Screen Idol (London: BFI, 2003). 6. Miriam Bratu Hansen, ‘The Mass Production of the Senses: Classical Cin- ema as ‘Vernacular Modernism’, Modernism/Modernity, 6.2 (1999), 59–77, (pp. 60, 68). 7. Ibid., p. 68. 8. Maria Wyke (ed.), Parchments of Gender: Deciphering the Bodies of Antiquity (Oxford: Clarendon Press, 1998), pp. 1 and 3. 9. Richard H. Armstrong, A Compulsion for Antiquity: Freud and the Ancient World (Ithaca, NY and London: Cornell University Press, 2005), preface, citing Friedrich Schlegel, Athenäums – Fragmente 15 (1797–1798). 10. Marcia Landy, Cinematic Uses of the Past (Minneapolis, MN: University of Minnesota, 1996), p. 23. 11. Mary Beard and John Henderson, Classical Art: From Greece to Rome (Oxford: Oxford University Press, 2001), p. 115. 12. Ibid. 13. See John Boardman, The Archaeology of Nostalgia: How the Greeks Recreated their Mythical Past (London: Thames and Hudson, 2002), p. 82. 14. Jürgen Habermas and Seyla Ben-Habib, ‘Modernity versus Postmodernity’, New German Critique, 22, Special Issue on Modernism. (Winter, 1981), 3–14, (p. 3). 15. Hans Robert Jauss, ‘Tradition, Innovation, and Aesthetic Experience’, The Journal of Aesthetics and Art Criticism, 46, 3. (Spring, 1988), 375–388, (p. 376). 16. Beard and Henderson, p. 6. 17. Ibid., p. 9. 18. Beard and Henderson, p. 186. 19. Leo Braudy, The Frenzy of Renown: Fame and its History (New York and Oxford: Oxford University Press, 1986). 20. Braudy, p. 5. 21. Braudy, p. 6.

208 Notes 209

22. Richard Dyer (1986); Patrice Petro (ed.), Idols of Modernity: Movie Stars of the 1920s (New Brunswick, NJ, and London: Rutgers University Press, 2010). 23. For example: Maria Wyke, Projecting the Past: Ancient Rome, Cinema and History (London: Routledge, 1997); Martin M. Winkler, Cinema and Clas- sical Texts: Apollo’s New Light (Cambridge: Cambridge University Press, 2009). 24. Richard Dyer, Stars (London: BFI, 1979), p. 24. 25.Barthes,Roland.‘TheFaceofGarbo’,Mythologies (London: Paladin, 1993 [ﬁrst published 1957]) pp. 56–57, p. 57. 26. Dyer (1979), p. 24. Dyer quotes from Alexander Walker, Stardom: The Hollywood Phenomenon (London: Michael Joseph, 1970), p. 223. 27. Dyer (1979), p. 25. Dyer quotes from Edgar Morin, Les Stars (New York: Grove Press, 1960), p. 16. 28. An increasingly ‘democratic rhetoric’ to star discourse in the 1920s is noted in Jennifer M. Bean ed., Flickers of Desire: Movie Stars of the 1910s (New Brunswick, NJ and London: Rutgers University Press, 2011), p. 21, n. 1. 29. Lucy Fischer, Designing Women: Cinema, Art Deco and the Female Form (New York: Columbia University Press, 2003), p. 25. 30. Fischer (2003), p. 198, quoting Edward Lucie-Smith, Art Deco Painting (Oxford: Phaidon, 1990), p. 8. 31. Mark Winokur, American Laughter: Immigrants, Ethnicity, and the 1930s Hollywood Film Comedy (New York: St Martins, 1996), p. 199, quoted in Fischer, p. 4. 32. See also: Lucy Fischer, ‘Greta Garbo and Silent Cinema: The Actress as Art Deco Icon’, Camera Obscura 48 (Special Issue: Early Women Stars), 16:3 (2001), 83–112. 33. Richard Dyer, White (London: Routledge, 1997), p. 78. 34. The 1930 article, most likely from Photoplay, is reproduced in Sven Broman, Conversations with Greta Garbo (Harmondsworth: Viking, 1991), p. 10. 35. Picture-Play, September 1922, 82. 36. Richard Dyer (1986), p. 121. 37. Michael Biddis and Maria Wyke (eds), The Uses and Abuses of Antiquity (Bern, Berlin, Bruxelles, Frankfurt am Main, New York, Wien: Peter Lang, 1999), p. 16. 38. Edgar Morin, The Stars (Minneapolis, MN: University of Minnesota, 2005) [originally published 1957], p. 85. 39. Parker Tyler, Magic and Myth of the Movies (London: Secker & Warburg, 1971 [ﬁrst published 1947]), p. 26. Tyler’s emphasis. 40. Tyler (1971), p. 27. 41. Christine Gledhill (ed.), Stardom: Industry of Desire (London: Routledge, 1991). 42. Tyler (1971), p. 31. 43. Ibid. 44. One example is an image of British actor and director Henry Edwards in Picture Show, 22 November 1919, 10. 45. Nikolaus Himmelmann, Reading Greek Art (Princeton, NJ: Princeton Univer- sity Press, 1998), p. 128. 210 Notes

46. Walter Benjamin, ‘The Work of Art in the Age of Mechanical Reproduc- tion’ in Illuminations (London: Pimlico, 1999 [first published 1936]), pp. 211–244. 47. Herbert Howe, ‘Why They Get Fabulous Salaries’, Photoplay, 48 (July 1922), 118–119. 48. Michael Brooke, ‘Topical Budget 485–2: Georges Carpentier’s Tribute (1920)’, BFI Screenonline, http://www.screenonline.org.uk/film/id/1250301/ index.html (Accessed 8 December 2011). 49. On male ‘to-be-looked-at-ness’ see Richard Dyer, ‘Don’t Look Now: The Male Pin-up’ and Steve Neale ‘Masculinity as Spectacle’, in Screen (eds) The Sexual Subject: A Screen Reader in Sexuality (London and New York: Routledge, 1992), pp. 265–276, 277–287. 50. Howe ‘Why They Get’, 119. 51. Though Arbuckle was acquitted of the charge of manslaughter relating to the death and sexual assault of the actress Virginia Rappe at a party, the scandal effectively finished his screen career. 52. Herbert Howe, ‘When Hollywood Goes to Paris’, Photoplay,100 (September 1922), 42–43. 53. Norbert Lusk, ‘She Knows What We Want’, Picture-Play, September 1923, 95. 54. The Picture Oracle, ‘Information Please’, Picture-Play, July 1927, 118. 55. Myrtle West, ‘That Stockholm Venus’, Photoplay, May 1926, 36; Kathleen Ussher, ‘A Swedish Siren’, The Picturegoer, May 1927, 30. 56. Alex Potts, Flesh and the Ideal: Winckelmann and the Origins of Art History (New Haven, CT and London: Yale University Press, 2000), p. 49, quoting: J. J. Winckelmann, Geschichte der Kunst des Alterthums (HistoryoftheArtof Antiquity) (Dresden: Waltherischen Hof-Buchhandlung, 1764), pp. 430–431. 57. Potts, p. 49. 58. I. M. Pacatus (pseudonym for Maxim Gorky), Nizhegorodski Listok (4 July 1896), translated in Jay Leyda, Kino: A History of Russian and Soviet Film (London: George Allen and Unwin, 1960), p. 407, cited by Lee Grieveson and Peter Krämer, ‘Introduction’, The Silent Cinema Reader (London: Routledge, 2004), p. 1.

1 Shadows of Desire: War, Youth and the Classical Vernacular

1. Picturegoer, 11 October 1913, 3. 2. Ibid., 31, 3. 3. Picturegoer, 25 October 1913. 4. ‘Art and Democracy’, Photoplay, April 1918. 5. ‘The Eternal Picture’, Photoplay, December 1918, 23. 6. ‘Ancient Rome Lives Again’, Picturegoer, 19 April 1919, p. 383. 7. ‘The Law of Example’, Photoplay, January 1920, 27. 8. Maurice Maeterlinck, ‘The Spiritual Future of the Movies’, Photoplay, April 1921, 35–37, 108–109 (pp. 37 and 38). 9. Maeterlinck, 36. 10. Eugene Clement d’Art, ‘The Motion Picture of the Future’, Picture-Play, November 1925, 20. Notes 211

11. ‘I Remember’, Picturegoer, February 1923, 34. 12. ‘Confessions of a Kinema Star’, Picturegoer, April 1921, 17. 13. OED (Online), ‘Star’, n.1, 5a, www.oed.com (Accessed 11 February 2012). 14. ‘What is a Star?’, Picturegoer, 12 May 1917, 146, 148. 15. M-G-M advertisement for The Midshipman, Picture-Play, January 1926. 16. Lawrence Kramer, ‘The Return of the Gods: Keats to Rilke’, Studies in Roman- ticism 17 (1978), 484, quoted in Eileen Gregory, H.D. and Hellenism: Classic Lines (Cambridge: Cambridge University Press, 1997), p. 83. 17. Braudy (1986), p. 40. 18. Ibid., p. 42. 19. Christine Mitchell Havelock, Hellenistic Art: The Art of the Classical World from the Death of Alexander The Great to the Battle of Actium (London: Phaidon, 1971), p. 25. 20. Braudy (1986), p. 19. 21. Ibid., p. 34. 22. Ibid., p. 38. 23. Myrtle West, ‘That Stockholm Venus’, Photoplay, May 1926, 36; Picture Show, 9 February 1924, p. 6. The title ‘England’s Apollo’ is used to promote Novello in an advertisement for The Man Without Desire (Adrian Brunel, 1923). 24. Braudy (1986), p. 195. 25. Malcolm Bull, The Mirror of the Gods: Classical Mythology in Renaissance Art (London: Allen Lane, 2005), p. 5 26. Braudy (1986), p. 197 27. Johann Joachim Winckelmann, History of the Art of Antiquity (Los Angeles, CA: Getty Research Institute, 2006; trans. Harry Francis Mallgrave). Origi- nally published as Geschichte der Kunst des Alterthums. 28. Alex Potts, ‘Introduction’ to Winckelmann (2006), pp. 1–53, (p. 2). 29. Potts,p.3. 30. Ibid., p. 33. 31. Ibid., p. 35. 32. Winckelmann, pp. 333–334. 33. Leo Braudy, ‘Secular Anointings: Fame, Celebrity and Charisma in the First Century of Mass Culture’, in Edward Berenson and Eva Giloi (eds), Constructing Charisma: Celebrity, Fame, and Power in Nineteenth- Century Europe (New York and Oxford: Berghahn Books, 2010), pp. 165–182, p. 180. 34. Braudy (2010), pp. 173–174. 35. Minta, ‘Byron, Death and the Afterlife’, in Berenson and Giloi, pp. 119–133, p. 121; Minta quotes Hesiod, ‘Works and Days’, in Hesiod,ed.andtrans. Glenn W. Most, 2 vols (Cambridge, MA, 2006–2007), 1:760–764. 36. Edward Berenson, ‘Charisma and the Making of Imperial Heroes in Britain and France, 1880–1914’, in Berenson and Giloi, pp. 21–40, p. 27, n. 17. 37. Braudy (2010), p. 176. 38. Picture-Play, October 1920, p. 14. 39. Bull, p. 22 40. Thomas Bulﬁnch, Myths of Greece and Rome (New York: Penguin, 1979 [ﬁrst published 1855]), p. 11. 212 Notes

41. G. Hunt Jackson, Modern Song From Classic Story: Verse Suggested by Some of the Most Interesting and Instructive Characters and Events of Mythology and Classical History (London: Spottiswoode & Co., 1895), pp. 3 and 4. 42. Peter Brooks, Chapter 1 ‘The Melodramatic Imagination’ in The Melodramatic Imagination: Balzac, Henry James, Melodrama and the Mode of Excess (New Haven, CT and London: Yale University Press, 1995), pp. 1–23. 43. G. Hunt Jackson, p. 7. 44. Ibid., p. 119. 45. Ibid., p. 29. 46. For example, ‘Shadowland: Critical Gossip about Plays and Players in Current Pictures’, Picturegoer, January 1921, p. 49. 47. G. Hunt Jackson, pp. 132–134. 48. David J. Getsy, Body Doubles: Sculpture in Britain, 1877–1905 (London: Yale University Press, 2004), p. 4; Braudy (1986), p. 421. 49. Richard Jenkyns, The Victorians and Ancient Greece (Oxford: Basil Blackwell, 1980), p. 15; quoting Shelley, Hellas (London: Charles and James Ollier, 1822), preface. 50. Jenkyns, p. 14. 51. Ibid., p. 13; Citing: Keats, On Seeing the Elgin Marbles (1817); William Hazlitt, ‘A Journey Through France and Italy’ (1824), The Complete Works of William Hazlitt, ed. P. P. Howe (1932–1934), XVI, 66. 52. Jenkyns, p.ix. 53. May Hershel Clarke, ‘Hobbies of Screen Stars’, Picture Show,18October 1919, 10. 54. Julian Johnson, ‘Impressions’, Photoplay, July 1918, 95. 55. Bulﬁnch, pp. 88, 69, 130. 56. Lynda Nead, The Haunted Gallery: Painting, Photography, Film c.1900 (New Haven, CT and London: Yale University Press, 2007), p. 1. 57. Nead, p. 78. ‘The Birth of a Pearl’, American Mutoscope and Biograph Company, 1903. 58. Nead, p. 54. 59. Martin M. Winkler, Cinema and Classical Texts: Apollo’s New Light (Cambridge: Cambridge University Press, 2009), p. 2. 60. Winkler (2009), p. 2. 61. Abel Gance, ‘Le temps de l’image est venu’, L’art cinématographique,2 (1927), 83–102, p. 96, quoted and translated in Winkler (2009), p. 4. 62. F. W. H. Myers, pp. 544–545. 63. Michael Williams, Ivor Novello: Screen Idol (London: BFI, 2003). 64. Parker Tyler, The Hollywood Hallucination (New York: Simon and Schuster, 1970 [ﬁrst published 1944]), pp. 231, 233. 65. John S. Cohen, Jr, ‘According to Freud’, Photoplay, August 1926, 73. 66. ‘My Strange Life by Theda Bara’, Picture-Play, 15 February 1916, 305. 67. ‘The Warrior Returned’, Picturegoer, 11 March 1916, 548; Wanted – the Handsomest Man’, 549. 68. ‘Picture News and Notes’, Picturegoer, 19 February 1916, 470. 69. Frances Cornford (1905) quoted in Michael Hastings, Rupert Brooke: The Handsomest Young Man in England (London: Michael Joseph, 1967), p. 18. 70. Dorothy Manners, ‘The Happy Ending’, Picture-Play, September 1925, 61. Notes 213

71. Lewis Bayles Paton, Spiritualism and the Cult of the Dead in Antiquity (London: Hodder and Stoughton, 1921), p. 7. Paton cites Homer, Odyssey, p. xi, 204–221 (Bryant’s Translation). 72. ‘The Art of Conversation’, Picturegoer, 3 January 1914, 395. 73. William H. Johnson, ‘To the Girl in the Film’, Picture-Play, 1 December 1915, 52. 74. Robert Foster, ‘In the Spring of a Young Man’s Fancy – ’, Picture-Play,April 1916, 63. 75. Charles Newton Scott, The Religions of Antiquity As Preparatory to Christianity (London: Smith, Elder and Co., 1914). [revised version of books from 1893, which in turn was version of 1877 text], 43. 56. 76. See Jay Winter, Sites of Memory Sites of Mourning: The Great War in European Cultural History (Cambridge: Cambridge University Press, 1995). 77. ‘Violet Hopson’, Picture Show, 17 May 1919, 8; Hopson reads from a fan- letter. 78. James I. Porter (ed.), Constructions of the Classical Body (Ann Arbor, MI: University of Michigan Press, 2002), pp. 1 and 6. 79. Ibid., p. 2. 80. Ana Carden-Coyne, Reconstructing the Body: Classicism, Modernism, and the First World War (Oxford: Oxford University Press, 2009). 81. Carden-Coyne, pp. 76 and 79. 82. Ibid., p. 293. 83. Ibid., pp. 49–50. 84. Ibid., p. 51. 85. Photoplay, December 1920; Kinema Carols, ‘To Marie Doro’, Picturegoer, September 1924, p. 50. 86. Carden-Coyne, p. 4. 87. See Richard Dyer, ‘Charisma’ in Christine Gledhill ed., Stardom: Industry of Desire (London: Routledge, 2000), pp. 57–59. 88. Pam Cook, Screening the Past: Memory and Nostalgia in Cinema (London: Routledge, 2005), p. 3. 89. Ruth Waterbury, ‘Youth’, Photoplay, November 1927, 46–47, 134–135 (p. 46). 90. Ibid., 46, 47, 134. 91. Maria Wyke, ‘Herculean Muscle!: The Classicizing Rhetoric of Bodybuild- ing’, in James I. Porter (ed.), Constructions of the Classical Body (Ann Arbor, MI: University of Michigan Press, 2002), pp. 355–379; Ana Carden-Coyne, Classical Heroism and Modern Life: Bodybuilding and Masculinity in the Early Twentieth Century, Originally published in Murphy and Warner (eds), New Talents 21c Writing Australia: Journal of Australian Studies no 63 (St Lucia: UQP, 1999), pp. 138–203. 92. ‘Pompeian Beauty Powder’, advertisement, Picture Show, 3 November 1923, 23. 93. Heather Addison, ‘ “Must the Players Keep Young?”: Early Hollywood’s Cult of Youth’, Cinema Journal, 45, 4 (Summer 2006), 3 and 5. Addison cites Dorothy Spensley, Motion Picture Classic, 1930. 94. Addison, ibid., 5. 95. Picture Show, 14 June 1919, 18. 214 Notes

96. Frank M. Turner, The Greek Heritage in Victorian Britain (New Haven, CT and London: Yale University Press, 1981), p. 58. Turner quotes from Gardner, Grammar of Greek Art, p. 102. 97. Ibid. 98. Ibid. 99. Joanna Bourke, Dismembering the Male: Men’s Bodies, Britain and the Great War (London: Reaktion, 1996). 100. Alexander Walker, Stardom: The Hollywood Phenomenon (London: Michael Joseph, 1970), p. 112; Douglas Fairbanks, ‘Laugh and Live – Douglas Fairbanks tells you the secret of his happiness. Try it now, advises Doug’, Picture Show, 17 July 1920, 18. 101. Douglas Fairbanks, ‘Laugh and Live – Douglas Fairbanks tells you the secret of his happiness. Try it now, advises Doug’, Picture Show, 3 July 1920, 20. 102. Milton Hutchinson, Richmond, Virginia, letter printed in ‘Brickbats and Bouquets’, Photoplay, August 1929, 94. 103. Picture Show, 14 April 1923, 15. 104. ‘Ivor Novello’s Secret’, Picture Show, 31 January 1925, 19. 105. Gregory Woods, Articulate Flesh: Male Homo-eroticism and Modern Poetry (New Haven, CT and London: Yale University Press, 1987), p. 9. 106. ‘What Do You Think?’, Picturegoer, April 1925. 107. See Gaylyn Studlar, ‘Valentino, “Optic Intoxication,” and Dance Madness’ in Steven Cohan and Ina Rae Clark (eds), Screening the Male: Exploring Masculinities in Hollywood Cinema (London and New York: Routledge, 1993), pp. 23–45; ‘The Picture Oracle’, Picture-Play, August 1923, 112. 108. ‘In and Out of the Studios’, Picture-Play, March 1927, p. 66; ‘A Physically Perfect Young Man’, Picture-Play, October 1927, 74. 109. ‘Eddie Polo, “The Hercules of the screen” ’, Picture Show, 5 July 1919, 16. 110. Carol Sheridan, ‘The Proposal’, Photoplay, January 1922, 115. 111. ‘Kinema Karols’, Picturegoer, November 1927, 62. 112. ‘The Modern Venus’, Picture-Play, 82. 113. ‘Kinema Karols’, Picturegoer, April 1925, 48. 114. Photoplay, December 1926, 21. 115. Gail Cameron, ‘At Home with Virginia Pearson’, Picture-Play, May 1916, 280, 282 116. Myrtle Gebhart, ‘Vamps of Every Vintage’, Picture-Play, April 1927, 22. 117. ‘A Lesson in Vamping’, Picture-Play, July 1923, 44–46, 88. 118. ‘The Expressions of Pola Negri: A Ready-Made Enchantress’, Picture Show, 3 November 1923, 19. 119. ‘Vamps of All Times’, Photoplay, May 1921, 40–41, 98; June 1921, 45, 94; September 1921, 50, 108. 120. Winkler (2009), p. 3. 121. ‘Rosemary and Reminiscences’, Picture Show, 16 October 1920, 20. 122. Richard H. Armstrong, A Compulsion for Antiquity: Freud and the Ancient World (Ithaca, NY and London: Cornell University Press, 2005), pp. 18–19, citing Georg Wilhelm Friedrich Hegel, The Philosophy of History, trans. J. Sibree (New York: Dover Publications, 1956), p. 223. 123. ‘My Strange Life by Theda Bara’, Picture-Play, 15 February 1916, 299–300; Picturegoer, 9 June 1917, 227. Notes 215

124. Delight Evans, ‘Does Theda Bara believe her own Press Agents?’, Photoplay, May 1918, 62–63, 107. 125. ‘The New Theda Bara’, Picture-Play, September 1925, 17. 126. ‘A Siren from Surrey’, Picturegoer, September 1927, 44. 127. Ada Patterson, ‘When Venus Ordered Hash’, Photoplay, December 1921, 30, 100. 128. Silas Hounder, ‘Fighting Blood’, Picturegoer, December 1923, 40. 129. Gordon Gassaway, ‘What Do You Call Acting?’, Picture-Play, September 1922, 14.

2 Swanson Venus and Apollo Arlen: Sculpting the Star Body

1. Picture-Play, September 1922, 82. 2. I discuss the Swanson image in more detail in ‘Swanson as Venus: Silent Stardom, Antiquity and the Classical Vernacular’, in Pantelis Michelakis and Maria Wyke (eds), The Ancient World in Silent Cinema (Cambridge: University of Cambridge Press, forthcoming 2013). 3. Winifred Aydelotte, ‘Hollywood, The World’s Sculptor’, Photoplay, March 1934, 79. 4. Ibid., 80; The quotation derives from: Alexander Pope, Satires, Epistles, and Odes of Horace. Epistle i. Book ii. Line 147. 5. G. Hunt Jackson, p. 40. 6. See Richard Dyer, ‘The Colour of Virtue: Lillian Gish, Whiteness, and Femininity’, in Pam Cook and Philip Dodd (eds), Women and Film: A Sight and Sound Reader (London: Scarlet Press, 1994), pp. 1–9. 7. Winkler (2009), p. 251. 8. OED online: Havelock Ellis, Stud. Psychol. Sex IV, 1905, 188. Studies in the Psychology of Sex 7 vols. 1897–1928, in 1905 [vol. 4, 188]. 9. Christine Mitchell Havelock, The Aphrodite of Knidos and Her Successors: A Historical Review of the Female Nude in Greek Art (Ann Arbor, MI: University of Michigan Press, 1995), pp. 10 and 62. 10. John F. Kasson, Houdini, Tarzan and the Perfect Man: The Male Body and the Challenge of Modernity in America (New York: Hill and Wang, 2001), p. 27. 11. Ibid., p. 28. 12. Aydelotte, 114. 13. ‘The Flood of Years By William Cullen Bryant’ in Edmund Clarence Stedman (ed.) (1833–1908), An American Anthology, 1787–1900: http:// www.bartleby.com/248/101.html (Accessed 18 February 2012). 14. Malcolm Bull, p. 2. 15. Clara Berenger, ‘Famous Types and Why They Appeal’, Picture-Play, September 1926, 107. 16. Photoplay, December 1926, 21. 17. ‘The Taming of Helen’, Photoplay, February 1927, 36. 18. Picture-Play, 1 February 1916, 136. 19. Carden-Coyne (2009), p. 277. 20. ‘The Expressions of Antonio Moreno’, Picture Show, 24 September 1921, 9. 21. Madeline Mahlon, ‘Just An American Youth’, Photoplay, April 1926, 39. 22. Benjamin (1999), pp. 214 and 215. 216 Notes

23. Ibid. (1999), p. 224. 24. See ‘Stars as Sculpture in the 1920s Fan-Magazine Interview’, paper given at the ‘Sublimely Visual: The Art of the Text’ conference, University of Bristol, 5–7 September 2008. 25. JasElsner,´ Art and the Roman Viewer: The Transformation of Art from the Pagan World to Christianity (Cambridge: Cambridge University Press, 1995), p. 24. 26. Ibid., p. 25. 27. Winkler (2009), p. 25. 28. ‘Fans Will be Fans’, Miss Fannie Cisch, Brooklyn NY, Picture-Play,October 1923, 108. 29. Giuliana Bruno, Atlas of Emotion: Journeys in Art, Architecture, and Film (London: Verso, 2002), p. 6. 30. Braudy (1986), p. 198. 31. Jenkyns, p. 142. 32. David Lowenthal, The Past is a Foreign Country (Cambridge: Cambridge University Press, 1999 [First published 1985]), p. 3. 33. Ibid., p. 175. 34. Morin, p. 131. 35. Jauss, ibid., p. 377. 36. Morin, p. 42. 37. Porter, ‘Introduction’, p. 15. 38. ‘Through Our Lens’, Picturegoer, August 1928, 34. 39. Carden-Coyne (2009), p. 241. 40. Ibid., pp. 230 and 241, citing C. Ward Crampton, ‘Venus Anno Domini’, Withrow’s Physical Culture, May 1923, 215. 41. Ibid., p. 220. 42. Louise Catherine Anderson, ‘An Everyday Diana’, Photoplay, December 1919, 56–57, 122. 43. Edwin Schallert, ‘What’s This About Beauty?’, Picture-Play, October 1923, 18–20, 97. 44. ‘Is Your Figure Perfect?’, Picture Show, 17 May 1924. 45. Advertisement for ‘Onyx’ Hosiery, Photoplay, November 1926, 119. 46. Advertisement for ‘Onyx’ Hosiery, Photoplay, October 1926, 109. 47. Advertisement for ‘Physical Culture Simpliﬁed’, Picturegoer, May 1922, 53. 48. Carden-Coyne (2009), p. 103. 49. Ibid., p. 101, citing a letter from Tonks to D. S. MacColl, in Julian Freeman, ‘Professor Tonks: War Artist’, Burlington Magazine, 127 (May 1985), 286. 50. Ibid., citing Caroline Alexander, ‘Faces of War’, Smithsonian Magazine (February 2007). 51. ‘Smiles’, Picturegoer, 11 November 1916, 140. 52. ‘Picture Show Gossip’, Picture Show, 24 November 1923, 8. 53. ‘Heroes of the Screen Need Not be Handsome’, Picture Show,26January 1924, 15. 54. L. E. Eubanks, ‘The Perfect Man of the Screen: Who is He?’, Picturegoer, March 1924, 10–11. 55. Photoplay, May 1922, 39. 56. Photoplay, July 1928, 122. Notes 217

57. Parker Tyler, The Three Faces of Film (Cranbury,NJ:A.S.Barnes&Co.Ltd., 1967 [1960]), p. 52; Tyler is discussing Hans Richter’s Dreams That Money Can Buy (1947). 58. David J. Getsy, Body Doubles: Sculpture in Britain, 1877–1905 (London: Yale University Press, 2004), p. 1. 59. Ibid., pp. 1 and 12. Getsy cites Alex Potts, The Sculptural Imagina- tion: Figurative, Modernist, Minimalist (London, Yale University Press, 2000), p. 50. 60. Ibid., p. 12, citing Alex Potts, The Sculptural Imagination: Figurative, Modernist, Minimalist (London: Yale University Press, 2000), p. 50. 61. Picturegoer, 14 October 1925, 3. 62. Susan Sontag, ‘On Photography’ in The Susan Sontag Reader (London: Penguin, 1983), p. 350. 63. Richard Howells, ‘Heroes, Saints and Celebrities: The Photograph as Holy Relic, Celebrity Studies, 2:2 (2011), 112–130, (p. 128). 64. Picturegoer, 29 September 1917, 383. 65. Picture Show, 15 November 1919, 3. 66. Picturegoer, 16 March 1919, 266. 67. Picture Show, 9 August 1919, 7. 68. ‘Mae Marsh – Film Star and – Sculptor’, Picturegoer, 27 September 1919, 375. 69. Kasson, p. 23. 70. Ibid., p. 45; citing New York World, June 25 1895, 21. 71. Ibid., p. 49. 72. Ibid., p. 32. 73. Ibid., p. 28 (unattributed). 74. Ibid., p. 46 (unattributed). 75. Ibid., p. 78. 76. Ibid., p. 54. 77. Mary K. Coffey, ‘The American Adonis: A Natural History of the “Average American” (Man), 1921–1932’, in Susan Currell and Christina Cogdell (eds), Popular Eugenics: National Efﬁciency and American Mass Culture in the 1930s (Athens, OH: Ohio University Press, 2006), pp. 185–216, p.185. 78. Ibid., p. 189. 79. Ibid., pp. 196–197, 200. 80. Ibid., p. 190. 81. Ibid., p. 190. Coffey discusses the illustration from Josiah Clark Nott and George Robbins Gliddon’s Types of Mankind (1854). 82. Fay Brauer, ‘Introduction – Making Eugenic Bodies Delectable: Art, “Biopower” and “Scientia Sexualis” ’, in Fae Brauer and Anthea Callen (eds), Art, Sex and Eugenics: Corpus Delecti (Aldershot: Ashgate, 2008), pp. 1–34, p. 6. 83. H. H. Faulkner, ‘A Phrenological Study of Some Famous Stars’, Photoplay, March 1922, pp. 30–31. 84. ‘A Note of Merit’, advertisement, The Picturegoer, September 1921, 63. 85. Arthur A. Stuart, ‘Someday We’ll Look Like This’, Popular Science Monthly, July 1929, p. 47, reproduced in Christina Cogdell, ‘Future Perfect? The Elusive “Ideal Type” ’, in Currell and Cogdell (eds), pp. 240–272, p. 253. 86. Cogdell, p. 258, citing: Sermon in folder ‘Frederick Adams’, 1926, AES Papers; Ludmerer, Genetics and American Society,p.54;letterfromC.M. 218 Notes

Goethe to the editor of the Dunedin (New Zealand) Evening Star, 1 March 1924, folder ‘C. M. Goethe’, Charles B. Davenport Papers, American Philosophical Society. 87. For literary uses see, for example: Peter Wagner, Icons – Texts – Iconotexts: Essays on Ekphrasis and Intermediality (Berlin and New York: Walter de Gruyter, 1996), p. 15. 88. Simon Dixon, ‘Ambiguous Ecologies: Stardom’s Domestic Mise-en-scène’ in Cinema Journal 42, No. 2, Winter 2003, 81–100 (pp. 86 and 81). 89. ‘Eugene O’Brien’, Picture Show, 8 January 1921. 90. Daniel M. Bluestone, ‘From Promenade to Park: The Gregarious Origins of Brooklyn’s Park Movement’, American Quarterly, 39, 4 (Winter, 1987), 539. Bluestone quotes Frederick Law Olmsted and Calvert Vaux, ‘Description of a Plan for the Improvement of the Central Park “Greensward” ’ (1859), reprinted in Charles E. Beveridge and David Schuyler (eds), Creating Central Park 1857–1861 (Baltimore, MD: Johns Hopkins University Press, 1983), pp. 125–126. 91. Himmelmann, p. 128. 92. Donna Kurtz, The Reception of Classical Art in Britain: An Oxford Story of Plaster Casts from the Antique (Oxford: Archaeopress, 2000), p. 280. 93. Carden-Coyne (2009), pp. 143–145. 94. Dixon, 87. 95. ‘Maison Murray’, Photoplay, August 1921, 53. 96. William J. Mann, Behind the Screen: How Gays and Lesbians Shaped Hollywood 1910–1969 (London: Penguin, 2002), pp. 22–23. 97. Carden-Coyne (2009), pp. 281 and 283. 98. Mann. 99. ‘A Day Off’, Photoplay, December 1920, 46. 100. Gregory Curtis, Disarmed: The Story of the Venus de Milo (Stroud: Sutton, 2005), p. 60, citing Cecil Gould, Trophy of Conquest: The Musée Napoléon and the Creation of the Louvre (London: Faber and Faber, 1965), p. 41. 101. See, for example: Allan R. Ellenberger, Ramon Novarro (London: McFarland, 1999), p. 35. 102. Andrè Soares, Beyond Paradise: The Life of Ramon Novarro (New York: St Martin’s Press, 2002), p. 296. Soares quotes from Herbert Howe, ‘On the Road with Ramon’, Motion Picture, February to June 1927. 103. E. E. Barrett, ‘All the World’s a Set’, Picturegoer, May 1929, 24. 104. Potts, p. 144. 105. Ronald Gregg, ‘Gay Culture, Studio Publicity, and the Management of Star Discourse: The Homosexualization of William Haines in Pre- Code Hollywood’, Quarterly Review of Film and Video, 20:2 (2003), 81–97 (p. 95). 106. John Addison Elliott, ‘Novarro – Past, Present and Future’, Picture-Play, November 1926, 84. 107. Silas Hounder, ‘Ramon and Pythias’, Picturegoer, December 1924, 51. 108. The story relates that the men, followers of the philosopher Pythagoras, had travelled to Syracruse, where Pythias was wrongly accused of espionage by the tyrant Dionysus. Damon offered himself to ransom in order that Pythias could travel home one last time to settle his affairs, but when he didn’t return on the allotted day, Damon’s execution was prepared. Pythias’ Notes 219

ship had been captured by pirates, and he had to swim ashore after being thrown overboard, but arrived in time to save his friend. Dionysus relented at witnessing such loyalty and befriended the two men. 109. Havelock Ellis, Studies in the Psychology of Sex, Vol. 2 (Sexual Inversion) (Philadelphia, PA: F. A. Davis, 1924), p. 35. 110. Winckelmann, p. 197. 111. Herbert Howe, ‘A Prediction’, Photoplay, May 1924, 131. 112. Francis Haskell and Nicholas Penny, TasteandtheAntique:TheLureofClas- sical Sculpture 1500–1900 (New Haven, CT and London: Yale University Press, 2006), p. 50. Haskell and Penny quote: John Northall, Travels Through Italy, Containing New & Curious Observations on that Country (London: RareBooksClub.com, 1766), p. 362.

3 The Flight to Antiquity

1. Arthur Weigall, Flights into Antiquity (London: Hutchinson and Co. Ltd., 1928), pp. 9–10. 2. Ibid., p. 11. 3. See Michael Williams, Ivor Novello: Screen Idol (London: BFI, 2003), p. 88; Edith Nepean, Picture Show, 28 June 1924, 20. 4. Weigall, p. 13. 5. Giuliana Bruno, Atlas of Emotion: Journeys in Art, Architecture, and Film (London: Verso, 2002), p. 71. 6. C. W. Ceram, Gods, Graves and Scholars: The Story of Archaeology (London: Phoenix Press, 2001), p. 1, citing Friedrich Schiller’s (1759–1805) poem ‘Pompeii and Herculaneum’. 7. For an overview of the cultural impact of many of these discoveries see Ceram. 8. See Royston Lambert, Beloved and God: The Story of Hadrian and Antinous (London: Phoenix Giant, 1997), ﬁg.1. 9. Jackie Stacey, Star Gazing: Hollywood Cinema and Female Spectatorship (London: Routledge, 1994), pp. 126–175. 10. ‘Exit Worry – Enter Pictures’, Picturegoer, 27 March 1915, 538. 11. ‘Picturising the Past’, Picture Show, 11 November 1922, 22. 12. Fay Filmer, ‘ “Picture Show” Chat’, Picture Show, 24 March 1923, 4. 13. Fay Filmer, ‘ “Picture Show” Chat’, Picture Show, 28 April 1923, 3; 21 April 1923, 18. 14. ‘Fashions & Fancies in Filmland’, Picture Show, 19 May 1923, 22. 15. Helen Klumph, ‘The Face That Thrills’, Picture-Play, October 1925, 42–44; Jose Alonso, letter to ‘What the Fans Think’, ‘From a Disgusted Fan’, Picture- Play, March 1926, 11. 16. Trix MacKenzie, letter to ‘What the Fans Think’, ‘One Fan’s Impression of Ben Lyon’, Picture-Play, February 1926, 114. 17. John Addison Elliott, ‘Join Novarro and See the World!’, Picture Play, November 1925, 74. 18. ‘What the Fans Think’, ‘From a Frank Fan’, R. M. W., Kansas City, MO., Picture-Play, February 1927, 115. 220 Notes

19. Herbert Howe, ‘When Hollywood Goes to Paris’, Photoplay, September 1922, 43. 20. Herbert Howe, ‘Close-ups and Long Shots’, Photoplay, November 1924, 42. 21. Cal York, ‘Studio News and Gossip’, Photoplay, November 1924, 55. 22. Sigmund Freud, Civilization and its Discontents, trans. Joan Riviere (London: The Hogarth Press and the Institute of Psycho-analysis, 1982) [First English edition 1930], p. 1. 23. Ibid., p. 28. 24. Ibid., pp. 28–29. 25. Jan Assmann, Moses the Egyptian: The Memory of Egypt in Western Monotheism (Cambridge, MA: Harvard University Press, 1998), p. 9. 26. Richard H. Armstrong, A Compulsion for Antiquity: Freud and the Ancient World (Ithaca and London: Cornell University Press, 2005), p. 17. 27. Ibid., p. 17. 28. Ibid., p. 19. 29. Alison Landsberg, ‘Prosthetic Memory: the Ethics and Politics of Memory in an Age of Mass Culture’, in Paul Grainge (ed.), Memory and Popular Film (Manchester: Manchester University Press, 2003), pp. 144–161, p. 146. 30. Ibid., p. 149. 31. ‘My Own Story of My Trip Abroad by Rudolph Valentino’, Movie Weekly, 23 February 1924, 4. 32. Movie Weekly, 5 July 1924, 28. 33. Charlie Chaplin, My Trip Abroad (London: Hurst and Blackett, 1922); ‘My Trip Abroad by Rudolph Valentino’, Picturegoer, July 1924, 30–33. 34. Christopher M. S. Johns, ‘The Entrepôt of Europe: Rome in the Eighteenth Century’, in Edgar Peters Bowron and Joseph J. Rishel (eds), Art in Rome in the Eighteenth Century (Houston, TX and London: Philadelphia Museum of Art and Museum of Fine Arts, 2000), pp. 17–45, p. 19, cited in Edgar Peters Bowron and Peter Björn Kerber, Pompeo Batoni: Prince of Painters in Eighteenth-Century Rome (New Haven, CT and London: Yale University Press, 2008), p. 42. 35. Chloe Chard, Pleasure and Guilt on the Grand Tour: Travel Writing and Imag- inative Geography 1600–1830 (Manchester: Manchester University Press, 1999), p. 9. 36. Ibid., p. 75. 37. Ibid., p. 47. 38. ‘Pink Powder Puffs,’ The Chicago Tribune, 19 July 1926, 10. 39. ‘My Trip Abroad’, 23 February 1924, 4, 6, 4, 6, 5, 40, 5, 7. 40. ‘My Trip Abroad’, 1 March 1924, 5, 27. 41. Photoplay, January 1919, p. 5; Picturegoer, 17 July 1920. 42. ‘My Trip Abroad’, 8 March 1924, 29. 43. David A. Balch, ‘Valentino’s First Day’s Work in the Studio’, Movie Weekly, 15 March 1924, 4–5. 44. Emily W. Leider, Dark Lover: The Life and Death of Rudolph Valentino (London: Faber and Faber, 2003), p. 271. 45. ‘My Trip Abroad’, 5 April 1924, 27. 46. ‘My Trip Abroad’, 15 March 1924, 10, 11. 47. ‘My Trip Abroad’, 22 March 1924, 22. Notes 221

48. ‘My Trip Abroad’, 27 April 1924, 14. 49. ‘My Trip Abroad’, 5 April 1924, 11. 50. ‘My Trip Abroad’, 12 April 1924, 10. 51. ‘My Trip Abroad’, 7 June 1924, 12; 24 May 1924, 13. 52. ‘My Trip Abroad’, 5 April 1924, 11. 53. See Vertical File Collection: Folder 309, ‘Rudolph Valentino Auction Cata- log’, Margaret Herrick Library, Los Angeles. 54. ‘My Trip Abroad’, 3 May 1924, 12, 13, 25; Leider, p. 262. 55. My Trip Abroad’, 10 May 1924, 12, 13, 26. 56. Catherine Edwards, ‘Introduction: Shadows and Fragments’, in Edwards (ed.), Roman Presences: Receptions of Rome in European Culture, 1789–1945 (Cambridge: Cambridge University Press, 2007), pp. 1–2. 57. Eugen Sandow and Adam G. Mercer, Sandow on Physical Training [1894] (General Books [Print on Demand]), p. 17. 58. Stephen Bann, ‘Envisioning Rome: Granet and Gibbon in Dialogue’, in Catherine Edwards (ed.), Roman Presences: Receptions of Rome in European Culture, 1789–1945 (Cambridge: Cambridge University Press, 2007), pp. 35–52, p. 40. 59. MGM Files – 131018: ‘BEN HUR Treatment (complete) (190p) by June Mathis’. Dated 1 December 1922, pp. 6 and 4. Margaret Herrick Library, Los Angeles. 60. Bruno, p. 6. 61. Kevin Brownlow, The Parade’s Gone By ...(London: Columbus Books, 1989), p. 386; letter from M-G-M’s Director of Publicity in Italy, Lou Marangella, dated 4 December 1924, M-G-M, folder 15. 62. Letter from Ofﬁce of the First Aide-de-Camp of His Majesty the King, dated 31 January 1925, forwarded to L. B. Mayer by Aronson, 2 February 1925. Decision to edit newsreel discussed in a letter from Edward Bonus, Exploita- tion managed of M-G-M to Lou Marangella, 20 February 1925. M-G-M, folder 17. 63. ‘My Trip Abroad’, 10 May 1924, 14–15. 64. Jenkyns, pp. 44, 127; citing Clive Newcome; Byron, Childe Harold’s Pilgrim- age, canto 2, stanza 53. 65. ‘My Trip Abroad’, 17 May 1924, 14–15, 26. 66. Freud, pp. 6, 7 and 8. 67. ‘My Trip Abroad’, 10 May 1924, 13. 68. ‘afﬂatus’, n. Oxford English Dictionary online version, http://www.oed.com/ view/Entry/3450 (Accessed 05 March 2012). 69. Ceram, p. 16. 70. ‘My Trip Abroad’, 5 July 1924, 14. 71. ‘My Trip Abroad’, 21 June 1924, 10. 72. ‘My Trip Abroad’, 2 August 1924, 15. 73. Duncan F. Kennedy, ‘A Sense of Place: Rome, History and Empire Revisited’ in Edwards, pp. 19–34, p. 19. 74. Paul Zucker, ‘Ruins: An Aesthetic Hybrid’, The Journal of Aesthetics and Art Criticism, 20, 2 (Winter, 1961), 119–130, p. 120. 75. ‘My Trip Abroad’, 24 May 1924, 13. 76. http://cartelen.louvre.fr/cartelen/visite?srv=car_not_frame&idNotice= 11099&langue=en (Accessed 12 March 2012). 222 Notes

77. John Boardman, The Archaeology of Nostalgia: How the Greeks Recreated their Mythical Past (London: Thames and Hudson, 2002), p. 22. Boardman quotes Virgil, Georgics, 1, 493–497, trans. C. Day Lewis. 78. Film introduced by Toby Haggith of the Imperial War Museum, ‘British Cin- ema on the Home Front During the First World War’, British Silent Cinema Festival, London, 7 April 2011. 79. Herbert Howe, ‘A Prediction’, Photoplay, May 1924, 52. 80. Howe, ibid., 131. 81. ‘What They Remind Me Of’, letter from Vee Leidy, Omaha Nebraska to ‘What the Fans Think’, Picture-Play, August 1926, 12. 82. Edwards, p. 11. 83. Volker Losenmann, ‘The Nazi Concept of Rome’, in Edwards (ed.), pp. 221–235, p. 232; citing W. Ameling, Karthago (Munich, 1993), p. 2. 84. Maria Wyke, ‘Screening Ancient Rome in the New Italy’, in Edwards, pp. 188–204, p. 204. 85. Johann Joachim Winckelmann, History of the Art of Antiquity,trans.Harry Francis Mallgrave (Los Angeles: Getty Research Institute, 2006), p. 146. 86. ‘Crossroads of the World’, Photoplay, August 1926, 84. 87. Lynda Nead, The Haunted Gallery: Painting, Photography, Film c.1900 (New Haven, CT and London: Yale University Press, 2007), pp. 46–47, citing Sigmund Freud, ‘The Uncanny’, The Standard Edition of the Complete Psycho- logical Works of Sigmund Freud. XVII, trans. and ed. James Strachey (London: Hogarth Press and the Institute of Psycho-Analysis, 1955), pp. 219–52, p. 241. 88. M. P. B. (Bolton), ‘Sonnet to Ramon’s Eyes’, Picturegoer, September 1925, 48. 89. ‘Picture Show Chat’, Picture Show, 26 September 1925, 3. 90. ‘Filming in Tunisia’, Picturegoer, October 1924, 15–18, 60. 91. Gladys Hall, ‘A Young God Seen in Passing’ [‘Impression for CLASSIC’], Gladys Hall Collection, Folder 359: Ramon Novarro. Margaret Herrick Library. 92. Programme for Ben-Hur. Margaret Herrick Library, Hollywood Museum Collection. B10. 93. Andrè Soares, Beyond Paradise: The Life of Ramon Novarro (New York: St Martin’s Press, 2002), p. 13. 94. Sarah Berry, ‘Hollywood Exoticism’, in Lucy Fischer, Marcia Landy, Stars: The Film Reader (London: Routledge, 2004), p. 189. 95. Ceram, pp. 408 and 344. 96. Nikolaus Himmelmann (ed.), Reading Greek Art (Princeton, NJ: Princeton University Press, 1998), p. 237ff. 97. John Addison Elliott, ‘Join Novarro and See the World!’, Picture Play, November 1925, 74. 98. Ibid., 72. 99. Margaret Chute, ‘Ramon: The Recluse’, Picture Show, 21 May 1927, 9. 100. See Winckelmann. 101. Chute, 9. 102. John Addison Elliott, ‘Novarro: Past, Present and Future’, Picture-Play, November 1926, 83. Notes 223

4 Ben-Hur: A Tale of the Christ (1925) and the Idolisation of Ramon Novarro

1. Kenneth Anger, Hollywood Babylon (New York: Dell, 1975). 2. See Kevin Brownlow, The Parade’s Gone By ...(London: Columbus Books, 1989), p. 394. 3. ‘Ramon and Pythias’, Picturegoer, December 1924, 52; Constance Palmer Littlefield, ‘The Greek God from Mexico’, Picture-Play, August 1923, 56. 4. Lew Wallace, Lew Wallace: An Autobiography (New York and London: Harper & Brothers Publishers, 1906), http://www.hti.umich.edu/cgi/t/text/ pageviewer-idx?c=moa;cc=moa;sid=293bf9a76cfcb9f652b4dcd563c06148; rgn=full%20text;idno=AFB2446.0002.001;view=image;seq=00000007, pp. 926–929 (Accessed 6 November 2010). 5. The New York Clipper, 9 December 1899, 855. 6. Sally Benson, ‘The Triumph of the Season –“Ben-Hur” ’, Picture-Play, March 1926, 74. 7. Norbert Lusk, ‘ “Ben-Hur’s’ Famous Chariot Race Tremendous Thrill in Big Picture’, unattributed cutting, 1926, 8. ‘Ben-Hur (1925) Material’, Folder 32, M-G-M Collection, USC Cinema-Television Library [henceforth M-G-M]. 8. Julian Fox, ‘Ben-Hur’, Films and Filming, March 1930, 38. 9. Mae Tinee, ‘Francis Bushman in “Ben-Hur” Role’, The Morning Telegraph (NY), 6 January 1924. 10. For numerous wires and memos discussing Walsh’s casting in November 1922 see Folder 1, M-G-M (Note: all references to Ben-Hur folders refer to the M-G-M collection of the Cinema-Television Library at USC). 11. Brownlow, p. 390. 12. Emily W. Leider, Dark Lover: The Life and Death of Rudolph Valentino (London: Faber and Faber, 2003), p. 237. 13. See ‘Erlanger Here for “Ben-Hur” ’, The Morning Telegraph (NY), December 17, 1922; ‘Mr Erlanger, Please Answer!’, The Morning Telegraph (NY), 7 Jan 1923; ‘Bowes and Brabin leave to Arrange for “Ben-Hur” Film’, The Morning Tele- graph (NY), September 30, 1923. Kevin Brownlow reports that Valentino’s next-door neighbour, Francis X. Bushman, also attempted to persuade the star to campaign for the role. Apart from contractual difficulties, Valentino apparently felt that the role was a poison chalice in that any part after that would be bound to be a comedown. Brownlow, p. 390. 14. Picture Show, 21 July 1923, 7. 15. Littlefield, 56. 16. Telegram dated 2 May 1924, Schenck to Loew, M-G-M, folder 4. The one exception among the cast referred to is presumably Francis X. Bushman who, alongside Carmel Myers as the vampish Iras, were the only actors retained from phase one of the production. 17. Letter from Fred Niblo to Louis B. Meyer, dated 20 May 1924. M-G-M, folder 4. 18. Cable from J. Robert Rubin to Louis B. Mayer dated 30 June 1924, M-G-M, folder 1. 19. Brownlow, p. 395. Mathis is cited from Photoplay October 1924, 84. 224 Notes

20. Picture Show, 31 March 1923, 4. 21. Memo: ‘Ben Hur Sailing Dates’, M-G-M, folder 1. 22. Memo signed CAGH, dated 12 May 1925, ‘Main Title – REVISED 12-4-25’; ‘Publicity Billing’ memo dated 23 December 1925, M-G-M, folder 1. 23. ‘Oral History with J. J. (Joe) Cohn’ [MGM Executive], interviewed by Rudy Behlmer, 1987, M-G-M, folder 1. 24. ‘An Athlete of Screenland’, Picture Show, 29 April 1922, 17. 25. Addison, ibid., p. 5. 26. Letter to ‘What the Fans Think’ from Billee, New York, Picture-Play December 1923, 8. ‘Billie’ provides lines for ﬁve other stars too, including Valentino, but Novarro’s is perhaps the most striking. 27. Littleﬁeld, 56. 28. Ibid., 57. 29. Sally Benson.; ‘The Triumph of the Season –“Ben-Hur” ’, Picture-Play, March 1926. 74. 30. ‘Youth and War’, Picture Show, 26 March 1921, 22. 31. Cassandra Laity, H.D. and the Victorian Fin de Siècle: Gender, Modernism, Deca- dence (Cambridge: Cambridge University Press, 1996), p. 30. Laity quotes an unpublished review of Yeats’ Responsibilities, written in 1916 and later reproduced in Agenda, 25, nos. 3–4, Autumn-Winter 1987–1988, pp. 51–53. 32. ‘On the Road with Ramon’ Part 1., Motion Picture Magazine, February 1927. Quoted in Allan R. Ellenberger, Ramon Novarro (London: McFarland, 1999), p. 70. 33. ‘What is the Mystery of Ramon Novarro?’, Motion Picture Classic,October 1925. Quoted in Ellenberger, p. 70. 34. ‘Criticism on Carey Wilson’s Continuity’, by Mr Sekely, 3 September 1924, 1. M-G-M, Folder 13.1, 1. 35. John Addison Elliott, ‘Novarro: Past, Present and Future’, Picture-Play, November 1926, 83. 36. Alex Potts, ‘Walter Pater’s Unsettling of the Apollonian Ideal’, in Michael Biddis and Maria Wyke (eds), The Uses and Abuses of Antiquity (Bern, Berlin, Bruxelles, Frankfurt am Main, New York, Wien: Peter Lang, 1999), pp. 107–124 (p. 107). 37. Ibid., pp. 107–108. 38. Ibid, p. 115. Potts quotes Walter Pater, Greek Studies (London: Macmillan, 1910), pp. 296–297. 39. Pater, pp. 266 and 297 in Potts p. 115. 40. See Gwenda Young, ‘1925: Movies and a Year of Change’, in Lucy Fischer (ed.), American Cinema of the 1920s: Themes and Variations (New Brunswick, NJ, and London: Rutgers University Press, 2009). pp. 143–164, p. 144. 41. Silas Hounder, ‘Ramon and Pythias’, Picturegoer, December 1924, 52. 42. Ellenberger discusses a scandal avoided as Novarro’s visit to what was effectively a male brothel with fellow gay actor William Haines was kept from the press, p. 58. 43. Clipping from Scranton (PA) Republican, ‘Drunkenness Charged Against Movie Actors’. ‘Italy Drives “Ben Hur” Company from Rome’. By Hiram K. Moderwell. M-G-M, Folder 31, ‘Ben Hur – Newspaper articles during production’. Notes 225

44. Los Angeles Examiner, 10 February 1925. ‘Fred Niblo Back from Rome with ‘Ben Hur’ Party’. M-G-M, Folder 31, ‘Ben Hur – Newspaper articles during production’. 45. ‘The Picture Oracle’, Picture-Play, November 1923, 94. 46. See the chapter on Novarro in Anger. 47. Brownlow, p. 386; letter from M-G-M’s Director of Publicity in Italy, Lou Marangella, dated 4 December 1924, M-G-M, folder 15. 48. Agnes Smith, ‘The Screen in Review’, Picture-Play, November 1923, 64. 49. Malcolm Bull, The Mirror of the Gods: Classical Mythology in Renaissance Art (London: Allen Lane, 2005), p. 380. 50. Ibid., p. 387. 51. Gladys Hall, ‘A Young God Seen in Passing’ [‘Impression for CLASSIC’], Gladys Hall Collection, Folder 359: Ramon Novarro. Margaret Herrick Library. 52. Gladys Hall, ‘Is Ramon Novarro a Being From Another World?’, typewritten manuscript dated 24 July [eventually published in Motion Picture June 1930], Gladys Hall Collection, Margaret Herrick Library, p. 2. 53. C. R. M., Hollywood, ‘Whew!’, letter to ‘What the Fans Think’, Picture-Play, March 1928, 12. 54. Gladys Hall, ‘What Women Want to Know’, Manuscript dated 7 September 1930, Gladys Hall Collection, Margaret Herrick Library, 4–5. 55. Ibid., 5. 56. Gladys Hall, ‘A Young God Seen in Passing’. 57. Karl Abraham, ‘Psycho-Analytical Notes on Coué’s Method of Self-Mastery’, International Journal of Psychoanalysis, 7 (1926), 190–213. See: http://www. pep-web.org/document.php?id=ijp.007.0190a (Accessed 1 February 2007). 58. Picture Show, 31 March 1923, 3. 59. Herbert Howe, ‘What Are Matinée Idols Made Of?’, Photoplay, 41 (April 1923), 104. 60. John Addison Elliott, ‘Novarro: Past, Present and Future’, Picture-Play, November 1926, 84. Every Man a King was ﬁrst published circa 1906. 61. Letter from Mr Jackson to Mr Howard Dietz, 19 February 1924. M-G-M, folder 4. 62. Letter from Hotel Excelsior, Rome. From Bess Meredith to Mr Mayer, 14 July 1924. M-G-M, folder 4. 63. Letter from A. S. Aronson to Mayer, 27 November 1924. M-G-M, folder 4. 64. ‘Keeping Fit’, Picture-Play, December 1925, 24. 65. MGM Files – 131018, BEN HUR Treatment (complete) (190p) by June Mathis. Dated 1 December 1922, p. 99. 66. Lew Wallace, Ben-Hur: A Tale of the Time of Our Lord (London: James Nisbet & Co., 1887), p. 32. 67. Mathis, p. 63. 68. ‘Ben-Hur – Synopsis of Novel’, signed ‘E.J. Meagher, 17 June 1922. Herrick M-G-M Collection B1017. The synopsis was evidently also consulted for the 1950s remake as the synopsis lists another copying date of 30 September 1953. 69. Mathis, pp. 63 and 64. 70. Ibid., p. 63. 71. Ibid., p. 64. 72. Ibid., p. 65. 226 Notes

73. Mathis was clearly playing to audience familiarity with this representation of the narrative, which concerns the moment of metamorphosis as the nymph Daphne visually twists into the shape of the laurel tree at the very moment that Apollo, overwhelmed with ardour due to the interference of Cupid, catches up with her after a prolonged pursuit. 74. ‘Chi ama seguire le fuggenti forme dei divertimenti, alla ﬁne si trova foglie e bacche amare nella mano’. See: http://www.galleriaborghese.it/borghese/en/ edafne.htm (Accessed 17 February 2007). 75. Script – ‘Ben Hur Part Two’, marked ‘old’ but undated. M-G-M, folder 13. 76. Letter Niblo to Mayer dated 2 July 1925. M-G-M, folder 22. A scene list from editor Lloyd Nosler indicates a courtesan scene in which a lady in waiting gives a note to Ben-Hur bidding him to visit Iras. Notes from Lloyd Nosler, undated, scene list. M-G-M, folder 13. 77. Wallace, 1887, p. 195. 78. Thomas Slater, ‘The Vision and the Struggle: June Mathis’s Work on Ben-Hur’, (paper presented at the SCMS Conference, Chicago, 7–11 March 2007. 79. Mathis, p. 105. 80. Gregory Woods, Articulate Flesh: Male Homo-Eroticism and Modern Poetry (New Haven, CT and London: Yale University Press, 1987), p. 9. 81. Mathis, p. 32. 82. Wallace, Book 3, Chapter 2. 83. Mathis, p. 33. 84. Martin Postle, ‘ “The Modern Apelles”: Joshua Reynolds and the Creation of Celebrity’, in Martin Postle (ed.), Joshua Reynolds: The Creation of Celebrity (London: Tate Publishing, 2005), p. 19. 85. Ibid., p. 17. 86. Germaine Greer, The Boy (London: Thames and Hudson, 2003), p. 46. 87. Martin Postle, in Postle and Mark Hallett, ‘Catalogue’, in Postle, p. 124. Postle quotes Reynolds from his Fifth Discourse, published in 1772. 88. See Richard deCordova, Picture Personalities: The Emergence of the Star System in America (Urbana, IL: University of Illinois Press, 1990). 89. Garry Wills, John Wayne: The Politics of Celebrity (London: Faber and Faber, 1997), pp. 19 and 24. 90. Chester Keel, ‘The Fiasco of “Ben Hur” ’, Photoplay, November 1924, 32. 91. Sally Benson, 74. 92. The title does not yet appear in the title lists: Ben-Hur Title List – 19 October 1925; Title list: Ben-Hur – 4 December 1925, M-G-M, folder 13. 93. JasElsner,´ Art and the Roman Viewer: The Transformation of Art from the Pagan World to Christianity (Cambridge: Cambridge University Press, 1995), p. 160. 94. Ana Carden-Coyne, Reconstructing the Body: Classicism, Modernism, and the First World War (Oxford: Oxford University Press, 2009), p. 137.

5 The Undying Past: Flesh and the Devil (1926)

1. Script material and clippings were consulted at both the Margaret Herrick Library and the Cinema-Television Library, USC in Los Angeles. Refer- ences to scripts are identiﬁed by ‘Herrick’ and ‘USC’ respectively. Herman Sudermann, The Undying Past (London: John Lane, The Bodley Head, 1906). Notes 227

2. Contract discussed in ‘Shift Made in Director of Gilbert’, Los Angeles Times, 27 June 1926, C26. 3. Edwin Schallert, ‘The Flesh and the Devil’, Los Angeles Times, 26 December 1926, H5. 4. Edwin Schallert, ‘Jannings on First Venture’, Los Angeles Times, 2 June 1927, 48; Flesh and the Devil ‘Press Material, Core Collection, Margaret Herrick Library, Los Angeles, p. 2. 5. E. E. Barrett, ‘Featuring Mars’, Picturegoer, July 1926, 14–15. 6. F. V. Keyes, ‘Sudermann’s “Es War.”, The New York Times (Review of Books), 25 August 1906, BR526. 7. Ibid., p. 113. 8. Herbert Moulton, ‘What’s in a Name? Sssh!’, Los Angeles Times,27June 1926, C25. 9. Herbert Moulton, ‘Gilbert-Garbo Duo Vivid Figures in “Flesh and the Devil” ’, Los Angeles Times, 30 January 1927, C22. 10. Sudermann, p. 37. 11. Ibid., pp. 1 and 16. 12. Albert P. Lewin, ‘Synopsis Novel’, 21 January 1922, box F450, Margaret Herrick Library: Special Collections. 13. Mary Alice Scully, The Undying Past, Complete Treatment by Mary Alice Scully,42p.undated,USC,p.5. 14. Ibid., pp. 34–35. 15. Frederica Sagor, The Shocking Miss Pilgrim: A Writer in Early Hollywood (Lexington, KY: The University Press of Kentucky, 1999), p. 76. 16. THE UNDYING PAST: cp. Treatment, 22p FREDERICK SAGOR [sic], dated, 15 November 1925, Letter to Mr Marcin. USC. 17. Sagor, ibid., p. 1. 18. Note on ‘ravings’ in THE UNDYING PAST: cp. Treatment, 22p FREDERICK SAGOR, dated, 15 November 1925; Sagor, Letter to Marcin, USC. 19. THE UNDYING PAST: Sequence Outline (14p) Frederic Sagor, undated, USC. 20. THE UNDYING PAST: cp. Treatment, 22p FREDERICK SAGOR, dated, 15 November 1925, USC, p. 9. 21. THE UNDYING PAST: cp. Treatment, 25p FREDERICK SAGOR, dated, 19 November 1925. (marked Incomplete), USC, p. 8. 22. Ibid., p. 1. 23. Ibid, p. 2. 24. THE UNDYING PAST: cp. Treatment, 22p FREDERICK SAGOR, dated, 15 November 1925, USC, p. 1. 25. FLESH AND THE DEVIL – ADAPTED FOR THE SCREEN BY BENJAMIN GLAZER, 4 June 1926 (screen treatment), USC. 26. F451: Flesh and the Devil, Screen Play by Benjamin Glazer, 7 July 1926, Herrick,p.1. 27. Ibid., Scene 315. 28. F452 ‘Flesh and the Devil Cutting Continuity, Lloyd Nosler, Film Editor. 13 December 1926, Herrick. 29. Pam Cook, Screening the Past: Memory and Nostalgia in Cinema (London: Routledge, 2005), p. 3. 30. New York Times, Review of Books: ‘Es War’, 11 August 1909, BR494, USC. 228 Notes

31. Albert P. Lewin, ‘Synopsis Novel’, 21 January 1922, in F450, ‘Flesh and the Devil’, Herrick. 32. Mary Alice Scully, ‘The Undying Past, Complete Treatment’, 27p. undated. Folder 9, M-G-M Collection: Flesh and the Devil, USC, p. 1. 33. Ibid., p. 4. 34. Santanu Das, Touch and Intimacy in First World War Literature (Cambridge: Cambridge University Press, 2005, p. 113. 35. Thanks to Jessica Tipping for our conversations on this aspect of the ﬁlm. 36. Das p. 114. Das quotes: Heywood, ‘My Pal, Choyce, ‘A May Morning’, quoted in Martin Taylor (ed.), Lads: Love Poetry of the Trenches (London: Duckworth, 1989), 95, 96; David Jones, In Parenthesis, 1937 (London: Faber and Faber, 1961), p. 174. 37. Das, p. 115. Das quotes Elaine Showalter, ‘Rivers and Sassoon: The Inscrip- tion of Male Gender Anxieties’, in Behind the Lines, 64 (61–69). D. H. Lawrence, Lady Chatterley’s Lover (Harmondsworth: Penguin, 1961), p. 290. 38. Louis E. Bisch, ‘Love Pictures’, Photoplay, April 1928, 144. 39. Dorothy Spensley, ‘Adonis of the Argentine’, Photoplay, February 1927, 67, 120. 40. Ruth Waterbury, ‘Youth’, Photoplay, November 1927, 134. 41. Picturegoer, 29 August 1914. 42. Sudermann, pp. 5–10. 43. Ibid., p. 59. 44. Ibid., p. 61. 45. Ibid., pp. 16 and 144. 46. Flesh and the Devil – Adapted For The Screen By Benjamin Glazer, 4 June 1926 (screen treatment), M-G-M Collection: Flesh and the Devil,Folder9, USC, p. 17. 47. Das, p. 120. 48. Richard Jenkyns, The Victorians and Ancient Greece (Oxford: Basil Blackwell, 1980), p. 285. 49. Sudermann, p. 12. 50. Ibid., p. 18. 51. Plato, The Symposium, trans. Walter Hamilton (London: Penguin, 1951), p. 62. 52. ‘Introduction’, Plato (1951), p. 21. 53. Fred, Variety, 12 January 1927. 54. Herbert Moulton, ‘Gilbert-Garbo Duo Vivid Figures in “Flesh and the Devil” ’, Los Angeles Times, 30 January 1930, USC, C22. 55. ‘Sudermann Novel a Dramatic Find’, M-G-M Press Material ‘Flesh and the Devil’, Herrick, p. 1; ‘ “Flesh and the Devil” Concerns Military Period’, USC, 2. 56. Herbert Moulton, ‘Gilbert-Garbo Duo Vivid Figures in “Flesh and the Devil” ’, Los Angeles Times, 30 January 1930, USC, C22. 57. ‘Young Star Featured in Cadet Rôle’, Los Angeles Times, 20 February 1927, USC, C18. 58. M-G-M Press Material, Herrick, ‘John Gilbert Does Great Work in His New Picture’,p.1. 59. M-G-M Collection, ‘Flesh and the Devil’, No. 19, Herrick. 60. Sudermann, p. 19. Notes 229

61. Giuliana Bruno, Atlas of Emotion: Journeys in Art, Architecture, and Film (London: Verso, 2002), p. 80. 62. Fischer (2001), p. 101. Fischer cites Cedric Gibbons, New York Telegram, 9 March 1929. 63. FLESH AND THE DEVIL – ADAPTED FOR THE SCREEN BY BENJAMIN GLAZER, 4 June 1926 (screen treatment), USC, p. 36. 64. Myrtle West, ‘That Stockholm Venus’, Photoplay, May 1926, 36; Kathleen Ussher, ‘A Swedish Siren’, Picturegoer, May 1927, 30. 65. West, 36. 66. Rilla Page Palmborg, ‘The Mysterious Stranger’, Motion Picture Magazine, May 1926, p. 767; Vertical File Collection: Folder 251, ‘Greta Garbo – Scrapbook Leaves’, from a scrapbook entitled: ‘Garbo: Her First Thirty Years, September 18 – 1905 – 1935’, Herrick. 67. Himmelmann, p. 262,citing Winckelmann, Abhandlung von der Fähigkeit der Empﬁndung des Schönen in der Kunst, in WKISchriften, pp. 213–214. 68. ‘Greta Garbo’, unattributed clipping (c.mid-late 1920s), in ‘Greta Garbo Scrapbook’, Vertical File Collection, folder #251, Herrick. 69. Agnes Smith, ‘Up Speaks a Gallant Loser’, Photoplay,February 1927, 32. 70. Unattributed clipping, May 1927, in ‘Greta Garbo Scrapbook’, Vertical File Collection, folder #251, Herrick. 71. Cassandra Laity, p. 147, quoting H. D., Bid Me to Live (Redding Ridge: Black Swan Books, 1983), p. 126. 72. Sudermann, p. 363. 73. Laity, p. 44. 74. Sudermann, p. 13. 75. M-G-M Press Material, USC, p. 2. 76. Edwin Schallert, ‘ “The Big Parade” Fracas’. Bilge!’, Los Angeles Times, 5 September 1926, C13. 77. Sudermann, p. 4. 78. Colin Shindler, Garbo and Gilbert in Love: Hollywood’s First Great Celebrity Couple (London: Orion, 2005), p. 11. 79. ‘Flesh and the Devil’, M-G-M Collection (Special Collection), Herrick. 80. Sudermann, pp. 22–23. 81. Ibid., p. 133. 82. Ibid., p. 135. 83. Mary Alice Scully, The Undying Past, Complete Treatment by Mary Alice Scully, 42p. undated, USC, pp. 3–5. 84. THE UNDYING PAST: Complete Continuity by Mary Alice Scully (82p) USC, undated. 85. THE UNDYING PAST: Sequence Outline (14p) Frederic Sagor, undated, 13. 86. FLESH AND THE DEVIL – ADAPTED FOR THE SCREEN BY BENJAMIN GLAZER, 4 June 1926 (screen treatment), USC, p. 11. 87. Ibid., p. 48. 88. Ibid., p. 51. 89. Winkler (2009). 90. Longus, ‘Daphnis and Chloe’, trans. Christopher Gill, in B. P. Reardon (ed.), Collected Ancient Greek Novels (London: University of California Press, 1989), pp. 285–348, and 288. 230 Notes

91. See ‘ “Come and Have a Bathe!”: Landscaping the Queer Utopia’, in Robin Grifﬁths (ed.), British Queer Cinema (London and New York: Routledge, 2006), pp. 105–119. 92. Jenkyns, p. 281. Jenkyns cites Phyllis M. Grosskurth, John Addington Symonds (Longmans, 1964). 93. Ibid., p. 220. From Pater’s ‘The Age of Athletic Prizemen’. 94. Ibid., pp. 225–226. 95. Ibid., p. 338. 96. Jenkyns, p. 338; citing A. D. Gillespie, in G. Chapman (ed.), Vain Glory (1937), p. 160. 97. Jenkyns, p. 342; citing Ronald Arbuthnott Knox, Literary Distractions (New York: Sheed and Ward, 1958), p. 20. 98. F. Scott Fitzgerald, The Great Gatsby (London: Penguin, 1974), p. 188. 99. ‘Forum Conductor Writes Song Hit’, Los Angeles Times, 18 February 1927. 100. Colby Harriman, ‘The Shrine of Youth and Romance’, Motion Picture Weekly, 18 September 1926, 188–189.

6 ‘A Monument to Youth and Romance’: The Death of Rudolph Valentino

1. Sir James George Frazer, The Golden Bough: A Study in Magic and Religion,3rd Ed., Part III: The Dying God (London: Macmillan & Co., 1923 [1911]), p. 9. 2. Kenneth Gross, The Dream of a Moving Statue (University Park, PA: Pennsylvania State University Press, 2006), pp. v–vi. 3. Gross, pp. 94–95. 4. ‘Death of the Idol of the Picture Palaces’, The Daily Chronicle, 24 August 1926, Scrapbook ‘Hys Booke Vol. III’, Valentino Collection, ‘Collezione David Robinson Collection, Turin. Collection of scrapbooks from the Valentino scrapbooks of MTL, library of the museum (material from this collection henceforth indicated by ‘Turin’, titles given of scrapbooks are sometimes descriptive rather than ofﬁcial). 5. Mark Lynn Anderson, Twilight of the Idols: Hollywood and the Human Sciences in 1920s America (Berkeley, CA and London: University of California Press, 2011), pp. 70–71. 6. ‘ “Why not forget him?”: le lettere dei fan, le polemiche e il trattamento della memoria di Valentino in Picture Play, 1926–1928’, in Giulia Carluccio and Silvio Alovisio (eds.), Rodolfo Valentino: Cinema, Cultura, Società tra Italia e Stati Uniti negli anni Venti (Turin: Kaplan, 2010), pp. 97–119. 7. Allan R. Ellenberger, The Valentino Mystique: The Death and Afterlife of a Silent Film Idol (London: McFarland, 2005). 8. ‘The Face of Garbo’, from Roland Barthes, Mythologies (London: Paladin, 1993), pp. 56–57. 9. Gull Mellin, ‘In Memoriam’, Lund, Sweden, Picture-Play, October 1927, 117. 10. ‘Exit the Handsome Hero’, from ‘Scrapbook No.3’, undated but likely from early September 1926, Turin. 11. Eugene V. Brewster, ‘Has Rudy Come Back?’, Motion Picture Classic, March 1926, 42, 82; from scrapbook, ‘Hys Booke Vol. III’, Turin. 12. ‘Valentino’, 2 September 1926, Scrapbook No.3, Turin. Notes 231

13. Scrapbook, No.3, Turin. 14. ‘Valentino Is Not Dead’, Scrapbook, No.6, Turin; Rambova’s book, ﬁrst published in the UK in December 1926, has recently been reprinted as Natacha Rambova, RudolphValentino:AWife’sMemoriesofanIconByNatacha Rambova (Hollywood, CA: PVG Publishing, 2009). 15. J. M. Roberts, Antiquity Unveiled (1892): Ancient Voices from the Spirit Realms Proving Christianity to be of Heathen Origin [1892], (Kila, MT: Kessinger Publishing Company, c. 2001), p. 5. 16. Lynda Nead, The Haunted Gallery: Painting, Photography, Film c.1900 (New Haven, CT and London: Yale University Press, 2007), p. 82. 17. Nead, p. 231, citing Camille Flammarion, Popular Astronomy: A General Description of the Heavens (London: Chatto and Windus, 1894), pp. 616–617 (original emphasis). 18. Frederick James Smith, ‘Does Rudy Speak From The Beyond?,’ Photoplay, February 1927, 38–39 and 104 19. ‘When is Barbara Sincere?’, Picture-Play, September 1923, 62. 20. Lewis Bayles Paton, Spiritualism and the Cult of the Dead in Antiquity (London: Hodder and Stoughton, 1921), pp. vii–viii. 21. ‘Hawked Round the Bier’, Scrapbook No.3, Turin. The song was written by J. Keirn Brennan. 22. ‘A Lover Whom All the World Loved’, Los Angeles Examiner, August 1926, Clipping, Valentino biography ﬁles, Margaret Herrick Library. 23. Russell Barker, ‘Valentino’s Spirit Film from “Beyond the Grave” ’, Pictorial Weekly, undated, September 1927, Scrapbook No.6, Turin. 24. ‘The Real Valentino’, unattributed (UK), 22 August 1926, Scrapbook No.3, Turin. 25. Rudolph Valentino, Day Dreams by Rudolph Valentino (London: Hurst and Blackett, Ltd, 1923), p. 19. 26. Advertisement for ‘Day Dreams’, Daily News, 31 August 1926, p. 5, Scrapbook ‘Hys Booke Vol. III, Turin. 27. ‘What Do You Think?’, poem from Mary Lytton (London), Picturegoer,July 1924, 66. 28. ‘The Story of a Star undimmed by Death’, unattributed clipping, ‘Rudolph Valentino collection compiled by Emily Leider’, 1.f-6, Scrapbook #2 1921– 1926, Margaret Herrick Library. 29. ‘Rodolpho Guglielmi’, Motion Picture World, 4 September 1926, 17. 30. ‘Valentino the Man’, Picturegoer, October 1926, 16–18. 31. Mary Sharon, ‘House of Memories’, September 1928, Scrapbook No.6, Turin. 32. Ibid., 68. 33. ‘How the Valentinos Impressed Three Fans’, Picture-Play, August 1923, 104. 34. ‘The Undying Past’, Picture-Play, December 1926. 35. Muriel Graham, Berurck, Scotland, ‘Let Ramon Show His Teeth’, Picture- Play, August 1928, 10. 36. Herbert Howe, ‘The Last Days of Valentino’, TheNewMovieMagazine, 1928, 41–43, 128, (p. 128), Scrapbook ‘Red Album No.2’, Turin. 37. Rudy’s True Fan, Birmingham, UK, ‘In Memory of Valentino’, Picture-Play, January 1927, 12. 38. B. A. B., ‘An Aching Void’, Picture-Play, January 1927, 12. 232 Notes

39. ‘ “Unknown Soldier” Rides in Death with Valentino’, 7 September 1926, Rudolph Valentino clippings ﬁles, microﬁlm, Margaret Herrick Library. 40. ‘American Papers Reports’, 25 August 1926, Scrapbook ‘No. 3.’, Turin. 41. Barbara Hughes Fowler, The Hellenistic Aesthetic (Madison, WI: The Univer- sity of Wisconsin Press, 1989), p. 158, citing Hymns to Apollo (II). 42. Howe, ‘The Last Days of Valentino’, 41. 43. Ibid., 42. 44. Ibid., 42 and 128. 45. See Martin M. Winkler, Cinema and Classical Texts: Apollo’s New Light (Cambridge: Cambridge University Press, 2009), pp. 160–161. 46. ‘Pity Poor Mr. Oettinger’, J. K. Hopkins, Spokane, Washington, Picture-Play, April 1928, 11. 47. Joy Douglas, London, ‘Commemorate Rudy, Yes – But Stop Gushing!’, Picture-Play, January 1928, 10, see Williams (2009) for more on fan responses to Valentino’s death. 48. Laity; Eileen Gregory, H.D. and Hellenism: Classic Lines (Cambridge: Cambridge University Press, 1997). 49. Gregory,p.1. 50. Laity, pp. ix and xii. 51. Laity, pp. 2–3, citing T. E. Hulme, Speculations (ed.) Herbert Read (New York: Harcourt Brace, 1924), p. 131. 52. Laity, p. 3, citing T. E. Hulme, Further Speculations (ed.) Samuel Hynes (Minneapolis, MN: University of Minnesota Press, 1955), p. 99. 53. H. J. C. Grierson, The Background of English Literature and Other Collected Essays and Addresses (London: Chatto and Windus, 1925 [based on a 1923 lecture]), pp. 289 and 290. 54. ‘Valentino’s Friend’, Daily News, undated, Scrapbook ‘Articles Classés, etc.’, Turin. 55. Unattributed clipping, 18 August 1926, Scrapbook No.3, Turin. 56. Francis Gribble, ‘Hero Worship and Modern Girl’ (late August 1926), Scrapbook ‘Articles Classés, etc.’, Turin. 57. ‘Psycho-analysing Screen Success’, Screenland, February 1924, Scrapbook ‘Hys Booke’, Vol.II, Turin. 58. ‘Rudolph’s Male Admirer’, (probably Picture Show c1923), Scrapbook ‘Red Album No.110, Turin. 59. Conrad Arnold, St Paul, Minnesota, ‘A Heart Bowed Down’, Picture-Play, December 1926, 8. 60. Conrad Arnold, St Paul, Minnesota ‘Forget Valentino? Never!’, Picture-Play, June 1928, 10. 61. Anderson, p. 101. 62. Constance Riquer, ‘Chance to Carry out Valentino’s Wishes’, Picture-Play, May 1927, 8. 63. ‘From the Philippines’, Carmencita and Lolita, Manila. Picture-Play,June 1927, 10. 64. Mary Beard and John Henderson, ‘The Emperor’s New Body: Ascension from Rome’, in Maria Wyke (ed.), Parchments of Gender: Deciphering the Bodies of Antiquity (Oxford: Clarendon Press, 1998), pp. 191–219, p. 197. 65. Ibid., p. 197. 66. Ibid., p. 204. 67. Ibid., p. 219. Notes 233

68. Quoted in Braudy (1986), p. 101. 69. Sue Malvern, ‘ “For King and Country” Frampton’s Edith Cavell (1915–1920) and the Writing of Gender in Memorials to the Great War’, pp. 219–244, in David J. Getsy, Sculpture and the Pursuit of a Modern Ideal in Britain, c. 1880– 1930 (Aldershot: Ashgate, 2004), pp. 220 and 230. 70. Carden-Coyne (2009), pp. 2 and 141. 71. ‘In Memoriam’, Picture Show, 25 September 1926. 72. Picture Show, 27 August 1927. 73. Unattributed clipping (possibly Picture Show), Scrapbook ‘Articles Classés, etc.’, Turin; see cover of Rupert Brooke, 1914 & Other Poems (London: Sidgwick and Jackson, 1923). 74. Michael Hastings, Rupert Brooke: The Handsomest Young Man in England (London: Michael Joseph, 1967), p. 8. 75. Faith Baldwin, ‘In Memoriam – Rudolph Valentino’, Unattributed clipping, Rudolph Valentino collection compiled by Emily Leider (1.f-15: Scrapbook #6 1922-1930), Margaret Herrick Library. 76. King Priam, in Homer, Iliad, cited in Carden-Coyne (2009), p. 1. 77. ‘Lest We Forget’, Photoplay, August 1929, 38. 78. ‘Brickbats and Bouquets’, Photoplay, January 1927, 12. 79. ‘Memory Garden to Valentino’, 5 May 1928, clipping Scrapbook No.6, Turin. 80. ‘Valentino’s Last Film’, September 1926, clipping scrapbook No. 3, Turin. 81. ‘Films of Dead Artistes’, September 1926, clipping scrapbook No. 3, Turin. 82. Handwritten transcript ‘From “The Lady” ’, 16 September 1926, Scrapbook ‘Hys Booke Vol. 3’, Turin. 83. Picturegoer, September 1928, 54. 84. Vanessa R. Schwartz, ‘Museums and Mass Spectacle: The Musée Grévin as a Monument to Modern Life’, French Historical Studies, 19:1 (Spring, 1995), 7–26 (p. 23). 85. Marina Warner, Phantasmagoria: Spirit Visions, Metaphors, and Media into the Twenty-ﬁrst Century (London: Oxford University Press, 2006) pp. 31–46 (p. 23). 86. ‘Valentino Lying In State: By Wireless’, Daily Sketch, 26 August 1926, Scrapbook No.3, Turin. 87. ‘Valentino Lying in a Borrowed Tomb’, November 1928, clipping, Scrapbook No.6, Turin. 88. ‘Truth About Valentino’, The People, May 1928, Scrapbook No.6, Turin. 89. ‘Would You Like Valentino’s HIP SCARF?’, Picture Show, 20 November 1926, 8. 90. Ruth Briery, ‘Valentino’s Spirit Speaks Again’, January 1929, Scrapbook No.6, Turin. 91. ‘A Valentino Secret Revealed’, The People, 12 May 1929, Scrapbook No.6, Turin. 92. ‘Valentino on the “Talkies” ’, September 1930, Scrapbook, No.6, Turin. 93. Lambert, p. 3. 94. Clipping and handwritten text, ‘Special Clippings’, Turin. 95. ‘Rudolph Valentino’s Mausoleum is a Shrine of World Interest’, Journal Gazette, Fort Wayne, Indiana, 3 November 1928, clippings ‘Filed, Turin. 96. Carden-Coyne (2009), p. 119. 97. Ibid. 234 Notes

98. Matlack Price, ‘A Monument to Youth and Romance’, Photoplay, November 1926, 44–45 and 133. 99. Price (1926), 44. 100. Price (1926), 44–45. 101. Charles Matlack Price, The Practical Book of Architecture (Philadelphia, PA: J. B. Lippincott Company, 1916), pp. 34 and 36. 102. Price (1916), p. 76; Price (1926), 45. 103. Addison (2006), p. 20, citing Motion Picture Classic, May 1926, 90. 104. ‘Rudolph and Romance’, Clipping (likely Picturegoer), Scrapbook ‘Articles Classés, etc.’, Turin. 105. ‘A Confession, by Rudolph Valentino, Picture-Play, November 1925, 22, 92.

Conclusion: The End of the Golden Age?

1. Picture-Play, September 1925, 12. Original emphasis. 2. Cartoon from Margaret Reid, ‘Don’t Annoy the Stars!’, Picture-Play, August 1927, 83. 3. Picture-Play, March 1927, 10. 4. E. Raven, ‘When Half-Gods Go’, Picturegoer, May 1927, 17. 5. Picture-Play, June 1928, 10. 6. James L. Quirk, ‘Close-Ups and Long-Shots’, Photoplay, November 1928, 29. 7. Picture Show, 24 January 1920, 22. 8. ‘The Glory of Silence’, Photoplay, May 1921, 19. 9. Vitaphone advertisement, Photoplay, February 1929, 12. Original emphasis. 10. RKO Radio Pictures advertisement, Photoplay, August 1929, 144. 11. I have discussed 300 in ‘The Idol Body: Stars, Statuary and the Classical Epic’ in Film & History (Special Issue on ‘The Classical Era’), Autumn 2009, 39(2), 39–48. Bibliography

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Michael Williams, Ivor Novello: Screen Idol (London: BFI, 2003). ———, ‘ “Come and Have a Bathe!”: Landscaping the Queer Utopia’, in Robin Grifﬁths (ed.), Queer British Cinema (London and New York: Routledge, 2006), pp. 105–119. ———, ‘ “Why not forget him?”: le lettere dei fan, le polemiche e il trattamento della memoria di Valentino in Picture Play, 1926–1928’, in Giulia Carluccio and Silvio Alovisio (eds), Rodolfo Valentino: Cinema, Cultura, Società tra Italia e Stati Uniti negli anni Venti (Turin: Kaplan, 2010), pp.97–119; based on paper: ‘ “Why Not Forget Him?”: Fan Letters, Protest and the Writing of Valentino’s Mem- ory in Picture-Play’, paper given at the ‘Rodolfo Valentino: la Seduzione del Mito’ conference, Turin, Italy 24–27 February 2009. ———, ‘The Idol Body: Stars, Statuary and the Classical Epic’ in Film & History (Special Issue on ‘The Classical Era’), Vol. 39, No. 2, Autumn 2009, 39–48. Garry Wills, John Wayne: The Politics of Celebrity (London: Faber and Faber, 1997). Martin M. Winkler (ed.), Gladiator: Film and History (Oxford: Blackwell, 2004) ———, Cinema and Classical Texts: Apollo’s New Light (Cambridge: Cambridge University Press, 2009). Jay Winter, Sites of Memory Sites of Mourning: The Great War in European Cultural History (Cambridge: Cambridge University Press, 1995). Gregory Woods, Articulate Flesh: Male Homo-eroticism and Modern Poetry (New Haven, CT and London: Yale University Press, 1987). G. Frederick Wright, The Origin and Antiquity of Man (London: John Murray, 1913). Maria Wyke, Projecting the Past: Ancient Rome, Cinema and History (London: Routledge, 1997). ———, (ed.), Parchments of Gender: Deciphering the Bodies of Antiquity (Oxford: Clarendon Press, 1998a). ———, (ed.), Gender and the Body in the Ancient Mediterranean (Oxford: Blackwell, 1998b). Paul Zucker, ‘Ruins: An Aesthetic Hybrid’, The Journal of Aesthetics and Art Criticism, 20, 2 (Winter, 1961), 119–130. Evelyn Zumaya, Affairs Valentino (Hollywood, Los Angeles, CA: Rudolph Valentino Society and Publishing LLC, 2011). Index

Letter n followed by the locator refers notes. Italicized locators refers ﬁgures

Abraham, Karl, 129 Aphrodite, see Venus Achilles, 7, 33, 73, 80, 171–2, 180, 207 Apelles, 32 Patroclus, lover of, 180 Arab, The (Rex Ingram, 1924), 80, Addison, Heather, 46–7, 119 106–7, 108 Adonis, 41, 50, 58, 60, 67, 73–4, 130, Arbuckle, Roscoe ‘Fatty,’ 20, 210n51 138, 156 Arcadia / Arcadian, 59, 60, 127, 132, advertising, 47, 48, 65, 66, 119, 205, 145, 159, 171, 173 206 Architecture, 9, 13, 21, 27, 33, 37, 44, Alexander the Great, 7, 9–10, 32–3, 49, 76, 90, 91, 99, 100, 102, 105, 80, 96, 106, 171, 199 158, 176, 198–9 Alma Tadema, Sir Lawrence, 59 Aristophanes, 159 American Civil War, 114 Armstrong, Richard H., 52, 92–3 American Museum of Natural History, Aronson, A.S., 131 New York, 74 Art Deco, 1, 8, 13–14, 55, 75, 162, 163, American Venus, The (Frank Tuttle, 165, 182 1926), 50 Assman, Jan, 92 Anderson, Mark Lynn, 175, 190 Aston, Edward, 75 Anderson, Mary, 57 Ashmolean Museum, 77 Anger, Kenneth, 113, 125 Assyria, 198 Antinous, 79, 87, 186, 196 Apollo, 1, 2, 4, 7, 15, 16, 17, 19, 32, Antinous of Delphi statue, 87 33, 34, 37, 39, 42, 49, 50, 51, 59, Antiquity 60, 65, 67–8, 73, 74, 75, 79, 81, ‘Golden Age,’ discourse of, 9, 23, 30, 89, 90, 104, 107, 109, 119, 120, 39, 75, 123 123, 130, 132, 133, 134, 135, 136, Byzantine art, 71, 139–40 137, 138, 139, 140, 141, 158, 163, ideals of beauty, 2, 3, 4, 8, 14, 23–4, 172, 174, 180, 185, 191, 193, 197, 34, 37, 39, 42, 44, 45, 47, 48, 205, 206, 207, 226n73 49, 57, 65–6, 69, 73–5, 89, 100, Helios, sun-god, 33 111, 119, 123, 199; see also Phoebus Apollo, 180 youth ‘Apollo Belvedere,’ 34, 59, 65, 74, Greek and Roman revivals, 2, 8, 10, 75, 79, 81, 89, 90, 104, 105, 21, 33–4, 37–8, 51–2, 60, 69, 137, 139, 141, 158, 191, 197 132, 137, 167 ‘Apollo of Centocelle,’ 137 religion and, 21, 29, 43, 100, 106–7, ‘Daphne and Apollo,’ 133 131, 174 Apollodorus, 36 ruins of, 4, 33, 63, 81, 86–7, 89, 90, Arlen, Richard, 1–4, 14, 15, 16, 46, 68, 98, 99–109, 158, 187, 202 75, 204 Anthony and Cleopatra (Enrico Athens, 37, 38, 49 Guazzoni, 1913, Marcantonio e Atlantis, 189 Cleopatra), 27 Atlas, Charles, 116

243 244 Index

Augustus, 7, 33, 139–40 Brauer, Fay, 74 aura, concept of, 17, 18, 39, 43, 47, British Museum, 67 60, 61, 62, 63, 64, 71, 90, 202, 207 Broadway Theatre, New York, 115 Aurora, 163 Brooke, Rupert, 42, 44, 172, 183, 193 Aztecs, 87, 109–11, 114, 141 Brooks, Peter, 36 Brown, Clarence, 14, 145, 159, 160 Babylon, 51, 125 Brownlow, Kevin, 118 Bann, Stephen, 100 Bryant, William Cullen, 58, 76 Bara, Theda, 41, 51, 52, 145 Bruno, Guiliana, 61, 86, 100, 160 Bardelys the Magnificent (King Vidor, Buddhism, 107 1926), 151 Bulfinch, Thomas, 36, 38, 39 Barthes, Roland, 12, 177 Bull, Malcolm, 58, 126 Batoni, Pompeo, 100 Bushman, Francis Xavier, 19, 115–16, Beard, Mary, 8, 9, 191 118, 138 Beau Geste (Herbert Brenon, 1926), 156 Byron, Lord George Gordon, 35, 102, Beckham, David, 207 122 Ben Hur (Sidney Olcott / Frank Oakes Rose, 1907), 115 Cabiria (Giovanni Pastrone, 1914), 88, Ben-Hur: A Tale of the Christ (Fred 107 Niblo, 1925), 23, 79, 81, 90, 100, Cabinet of Doctor Caligari, The (Robert 101, 108, 109, 111, 113–41, 121, Wiene, 1919, Das Cabinet des Dr. 128, 136, 140, 167, 202 Caligari), 41 casting, 115–18, 138 Caesar, Gaius Julius, 12, 62, 96, 191 novel, 114–15, 118, 125, 131, 132, Callimachus, 185 134, 135, 139; see also Wallace, camp, see homoeroticism General Lew Carden-Coyne, Ana, 44–5, 46, 60, 65, promotion, 90, 101, 109, 121, 66, 77, 140, 192, 197 125–6, 128, 130–1, 138, 139 Carmen, Jewel, 47 sexuality, 117, 125, 130–4, 135, Carlyle, Thomas, 44, 200 137–8, 140–1 Carpentier, George, 19, 89 stage version, 115 Carthage, 23, 106–9 Benjamin, Walter, 18, 60, 71 Caruso, Enrico, 179 Bennett, James Gordon, 35 Castellaneta, 94, 103 Bernini, Gian Lorenzo, 133 Castor and Pollux, 145, 153, 155, 156, Benson, Sally, 115, 139 159, 165, 167, 168, 169, 170, 172 Biarritz, 188 Catholicism, 90, 109, 114, 129, 132, Big Parade, The (King Vidor, 1925), 139 147, 151, 160, 161 Ceram, C.W., 103, 110 Blythe, Betty, 52 Chaplin, Charles ‘Charlie,’ 94 Boccaccio, Giovanni, 36 Chard, Chloe, 95 Bodybuilding, 46, 116 Charlemagne, 33 see also Sandow, Eugen Charon, 98 Bohemian Girl, The (opera by Michael Christianity, 33, 106, 112, 124, 134, William Balfe, 1843), 190 141 Boer Wars, 37 David and Jonathan, 166 Bogarde, Dirk, 138 Garden of Eden, 111 Boyd, Dorothy, 52 Christ, Jesus, 33, 114, 115, 122, 135, Brabin, Charles, 117 139, 140, 141, 180 Braudy, Leo, 10, 32, 33, 35, 37, 62, 199 cinema architecture, 27, 30, 107, 133 Index 245 cinematography, 147, 170, 191 Donatello (Donato di Niccolò di Betto Circe, 51 Bardi), 138 classical ideals, see Antiquity Doolittle, Hilda (H.D.), 3, 58, 121–2, Classical Hollywood Cinema, 5, 9 164, 165, 187–8 Clement d’Art, Eugene, 30 Bid Me To Live, 164 Cleopatra, 17, 27, 51, 52, 189 Doro, Marie, 45 Clythe, 37 Druids, 169 Coffey, Mary K., 73–4 Dyer, Richard, 10, 11, 12, 14, 15, 43, Cogdel, Christina, 75 63 Cohn, Joe, 118 Columbus, Christopher, 110 Edwards, Catherine, 99 Contrapposto, 20, 74, 90, 124, 136–8, Egypt, ancient, 41, 51, 52, 85, 88, 131, 136, 140, 167 133, 198, 203 Coogan, Jackie, 89 see also Tutankhamen Cook, Pam, 45, 153 El Djem, 108 Corda, Maria, 51, 59 Ellenberger, Allan R., 176 Cornford, Frances, 42, 193 Ellis, Havelock, 57, 80 Cortéz [or Cortés], Hernán, 87, 109, ekphrasis, 8, 61, 171 111 Elgin Marbles, see Parthenon Marbles Couéism, methods of Émile Coué, Elsner, Jas,´ 61, 139 129–30 Elysium, 46, 167 Crawford, Joan, 1–2, 4, 13, 14, 64 Emerson, Ralph Waldo, 204 Crowe, Russell, 207 Erskine, John, 51 Cupid, 50, 59, 225n73 Erlanger, Abraham, 115 eugenics, 15, 48, 66, 73–5, 101 Damon and Pythias (Otis Turner, 1914), 42 Fabiola (Enrico Guazzoni, 1918), 29 Damon and Pythias, 42, 80, 166, Fairbanks, Douglas, 48, 68, 72, 89, 96, 218n108 129 Daniels, William, 32, 147 Farnum, William, 68, 115 Daphne, 132, 133, 225n73 Farrar, Geraldine, 96 Das, Santanu, 154–5, 156 Fauré, Gabriel Urbain, 106 Daven, André, 97 Ferguson, Elsie, 38 Davenport, Jane, 74 film fan-magazines, 3, 7–8, 9, 13, 18, Davies, Marion, 77 20–2, 30, 31, 36–7, 38–9, 43, 46–7, Dean, James, 177, 205 48, 51, 60–1, 63, 67–8, 71, 76–80, deCordova, Richard, 4 88, 93, 95, 112, 119, 122, 140, Dempsey, Jack, 19 141, 157, 176, 186, 195, 202–6 Denny, Reginald, 52, 53 First World War, 4, 5, 19, 22, 32, 37, Despard, Emile Françoise , 72 38, 40–1, 43–5, 46, 47–8, 50, 58, Diana, 17, 51, 65, 66, 162 59, 76–7, 87, 97, 98, 102, 106, Dido, 23 109, 110, 120, 124, 147, 153, Dionysus, Dionysiac, 32, 50, 107, 141, 154–7, 164–5, 171–2, 179–80, 174, 189, 208n3 182–3, 186, 187, 193, 197 Dionysus of Syracruse, 218n108 Battle of Verdun, 41, 106 Divine afflatus, 102 Flanders, 171 Dix, Richard, 116 heroism and, 37, 42, 43, 66–7, 140, Dixon, Simon, 76–7, 218n88 157, 171–2 246 Index

First World War – continued Gilbert, John, 145, 146, 147, 148, memorial architecture, 23, 40, 44, 150–1, 159, 160, 161, 163–4, 165, 72, 77, 140, 191, 192–4, 196, 166, 172, 194 197–8 Girl from Montmartre, The (Alfred E. Battle of the Somme, 67 Green, 1926), 194 see also trauma Gish, Lillian, 14, 57, 89, 126 Fischer, Lucy, 13, 14, 162 Gladiator (Ridley Scott, 1999), 207 Flammarion, Camille, 179 Glazer, Benjamin, 146, 148, 152, 153, FleshandtheDevil(Clarence Brown, 158, 162, 169, 170 1926), 14, 23, 145–73, 146, 161, Gledhill, Christine, 17 168, 183, 199, 202 Gorky, Maxim, 24 First World War and, 145, 147, Gounod, Charles-François, 106 149–51, 152, 153–7, 159–61, Grand Tour, The, 7, 8, 17, 22, 77, 81, 164–5, 171–2 87, 89, 94–5, 98, 100, 101, 103, homoeroticism and, 155, 157–9, 105, 137, 177, 202 171, 172 Great Gatsby, The (novel, F. Scott novel, 145, 146, 148–50, 151, Fitzgerald, 1925), 172 153–4, 157, 158, 160, 164, 165, Great War, see First World War 166, 167, 169, 183, 172 Grierson, H.J.C., 188 Florence, 94, 98, 175 Grifﬁth, Corinne, 51, 59 Forum Theatre, Los Angeles, 172 Grifﬁth, David Llewelyn Wark ‘D.W.,’ Four Horsemen of the Apocalypse, The 27 (Rex Ingram, 1921), 97, 177, 182, Gregory, Eileen, 187 183, 184 Gregg, Ron, 80 France, 19, 37, 41, 94, 96–7, 104, 105, Greece/Greek,1,2,4,5,6,8,9,10, 107, 150, 169 17, 18, 21, 24, 29, 30, 35, 36, 37, Frazer, Sir James George, 174–5, 176, 38, 39, 41, 43, 44, 47–8, 50, 51, 201 52, 58, 60, 61, 65, 64, 66, 68, 72, 74, 75, 79, 86, 100, 102, 107, 109, Frederick William IV, King, 148 111, 114, 122, 123, 124, 131, 132, Freud, Sigmund, 41, 90–2, 93, 102, 137, 141, 147, 165, 169, 174, 179, 108, 188 184, 185, 191, 197, 198, 199, 202, on antiquity / the past, 90–2, 93 204, 205 Gross, Kenneth, 175 Galatea, see Pygmalion myth Grosskurth, Phyllis, 171 galleries, references to, 8, 18, 28, 39, 49, 55, 60, 62, 63–4, 77, 81, 92, 104, Hades, 42, 98 108, 183 Hadrian, 79, 87, 186, 196 Gance, Abel, 39–40 Haines, William, 80, 224n42 Garbo, Greta, 3, 12, 13, 14, 15, 21, 23, Hall, Gladys, 127–9 32, 33, 58, 145, 146, 147, 148, Hansen, Miriam, 5–6 150, 152, 154, 159, 161, 162–6, Hanson, Lars, 145, 146, 158, 160, 166, 166, 170, 177, 187, 188, 205 172 Gardner, Percy, 47–8 Harriman, Colby, 172 Gassaway, Gordon, 53 Hart, William S., 115 Gemini, constellation of, 165 Havelock, Christine Mitchell, 32 Gérôme, Jean-Léon, 57 Hawley, Wanda, 38 Getsy, David, 37, 69 Hazlit, William, 38, 212n51 Gibbons, Cedric, 13, 162 H.D., see Doolittle, Hilda (H.D.) Index 247

Hebe, 65 Jenkyns, Richard, 37, 38, 43, 62, 158, Hegel, Georg Wilhelm Friedrich, 52 171 Heidelberg, 151 Jerusalem, 101, 122 Helen of Troy, 50–1, 59 Johns, Christopher M. S., 94 Helios, see Apollo Johnson, Julian, 38 Henderson, John, 8, 9, 191 Joyless Street (Georg Wilhelm Pabst, Her Husband’s Trademark (Sam Wood, 1925, Die freudlose Gasse), 1922), 54 164 Hercules / Heracles, 17, 43, 49, 50, 65, 67, 68, 73, 75, 86, 109, 130, 153, Kasson, John F., 58, 73 189, 190 Keats, John, 32, 38, 122 ‘Farnese Hercules,’ 68 Kerrigan, Jack, 72, 116 Herodotus, 107 Kipling, Rudyard, 77, 193 Hesiod, 35 kitsch, and high / low art, 1, 2, 4, Himmelmann, Nikolas, 18, 76, 110 8–10, 13, 17, 68 Hinduism, 107, 131 Klaw, Mark, 115 Hollywood, city of, 1, 20, 39, 46, 49, Kramer, Lawrence, 31 87, 89, 95, 125, 127 Kennedy, Duncan, 103 Homer / Homeric, 33, 42, 43, 44, 51, Kurtz, Donna, 77 80, 91, 120, 124, 148, 165–6, 171, 180, 193, 207 Laity, Cassandra, 165, 187 Illiad, The, 33, 193 Lake Arrowhead, 166 Odysseus / Ulysses, 23, 42, 43 La Marr, Barbara, 179, 194 Odyssey, The, 33, 51, 166 Lamphier, Fay, 50 Penelope, 23, 43 Landy, Marcia, 7 homosexuality, 6, 77, 80, 109, 114, Langtry, Lillie, 28, 29, 182 125, 132, 134–5, 138 Landsberg, Alison, 93, 106 homoeroticism, 2, 11, 23, 34, 43, 50, Last Days of Pompeii, The (Mario 73, 77, 79–81, 89, 123, 125, Caserini, 1913, Gli ultimi giorni di 134–5, 137, 155, 157, 159, 166, Pompeii), 27 171, 172, 205–6, 224n42 Lee, Lila, 61 Hopson, Violet, 44 Leider, Emily W., 97 Horace, 192 Leighton, Sir Frederick, 69 Howe, Herbert, 19–20, 21, 68, 79, 81, Lewin, Albert P., 146 89–90, 106–7, 108, 111, 129–30, Leibovitz, Annie, 207 141, 183, 185–6, 191, 195 Lilith, 51 Howells, Richard, 71 Littleﬁeld, Constance Palmer, 119 Hughes, Lloyd, 60 Lloyd Wright, Frank, 76 Hulme, T.E., 187, 189 Loew, Marcus, 117 Hyacinthus, 50 Lodger: A Story of the London Fog, The (Alfred Hitchcock, 1926), 126 iconotexts, 54, 71, 76, 164 London, 27, 37, 38, 70, 94, 96, 140, Incas, 189 188, 193, 194, 195 Ingram, Rex, 80, 106, 110, 113 Longus, ‘Daphnis and Chloe,’ Intolerance (D.W. Grifﬁth, 1916), 170–1 27 Los Angeles, 49, 88, 110, 125 172, 178, 182, 197 Jackson, G. Hunt, 36, 57 Los Angeles Times, The, 122, 145, 148, Jauss, Hans Robert, 8, 63 159, 196 248 Index

Losemann, Volker, 107 Metro-Goldwyn-Mayer, 13, 23, 30, Louvre (museum), 104, 105 101, 112, 113, 114, 115, 116, 118, Lovet-Lorski, Boris, 163 125, 127, 130, 145, 150, 151, 154, Lowell, James Russell, 183 162, 165, 166 Lowenthal, David, 63 Metro Pictures, 113 Lucian, 58 Michelangelo (Michelangelo Lucie-Smith, Edward, 14 Buonarroti), 28, 68, 138, 175 Lusk, Norbert, 20, 115 Midshipman, The (Christy Cabanne, Lyon, Ben, 88, 116, 117 1925), 151 Lyssipos, 68 Minta, Stephen, 35 modernism, 5–6, 14, 44–5, 92, 162, 186–8, 192 Macaulay, Rose, 44 Monroe, Marilyn, 205 MacLaren, Mary, 65 Monsieur Beaucaire (Sidney Olcott, Maeterlinck, Maurice, 29–30, 31, 1924), 96, 97, 181 193 Morgan, Joan, 88 Malvern, Sue, 192 Moreno, Antonio ‘Tony,’ 20, 60, 89, Mann, William J., 77, 79 117 Manners, Dorothy, 42 Morin, Edgar, 11, 12, 13, 16, 17, 18, Marangella, Lou, 101 63, 64 marble, 1, 3, 14, 27, 37, 38, 55, 57, 58, Murray, Alexander Stuart, 38 67, 69, 72, 79, 81, 99, 102, 104, Murray, Gilbert, 45 112, 163, 169, 191, 196–9 Murray, Mae, 20, 59, 62, 77 Marcin, Max, 150, 152 Murray, Nicholas, 15 Marconi’s Wireless Telegraph & Signal museums, 1, 2, 7, 8, 14, 28, 29, 51, 55, Company, 195 59, 60, 62, 63, 67, 70, 74, 77, 95, Marden, Dr. Orison, 130 104, 195 Marius, Gaius, 108 Mussolini, Benito, 94 Mars, 68, 96, 147, 164–5 Myers, Carmel, 131, 223n16 Marsh, Mae, 72 Myers, F.W.H., 40 Marshall, Beatrice, 148 Mathis, June, 100, 114, 116, 117, 118, Napoleon I (Bonaparte), 104 122, 126, 131, 132, 133, 134, 135, Napoleon III, 33 140, 195, 225n73 Nazis, 105, 107 Mayer, Louis B., 101, 117, 118, 130, Nietzsche, Friedrich, 48 131 Naldi, Nita, 51 McDermott, Marc, 145 Narcissus, 49, 50 medieval / medievalism, 131, 185, Nead, Lynda, 39, 92, 108, 179 186, 188 Negri, Pola, 51 Méliès, Georges, 57 Nepean, Edith, 86 memorials / memorialisation, 40, 44, New York, 58, 74, 76, 88, 107, 115, 72, 140, 153, 173, 183, 190–4, 122, 178, 180 192–9, 200 New York Clipper, 115 see also First World War New York Herald,35 Mercury, 98, 165 New York Times, The, 148, 154 Meredith, Bess, 130 Niblo, Fred, 23, 113, 117, 125, Merry Widow, The (Erich von 134 Stroheim, 1925), 151 Nike, 60, 76, 77 Mersereau, Violet, 41 see also sculpture, ‘Winged Victory’ Index 249

Niobe, 39 Peace on the Western Front: A Story of Northall, John, 81 the Battleﬁelds (Fred Swann, Hans Norton, Barry, 156 Nieter, 1930), 106 Nostalgia, 105, 147, 153, 157, Pearson, Virginia, 51 188 Phaëton, 39 Nosler, Lloyd, 153 Phidias, 68, 81, 124 Novarro, Ramon, 15, 16, 21, 23, 49, Philips, Thomas, 35 50, 79–81, 88–90, 91, 95, 98, 101, photography, 1, 7, 15, 18, 32, 42, 45, 106–12, 113–41, 121, 128, 136, 55, 59, 60, 63, 68, 71, 79, 87, 90, 140, 151, 166, 167, 169, 181, 186 91, 97, 98, 108, 154, 177, 182, and national identity, 14, 109–11, 185, 192, 193, 195, 196, 203 114, 119, 141, 169 phrenology, 75, 189 and religion, 90, 101, 106–7, Pickford, Mary, 20, 50, 72, 96, 204 111–12, 114, 123, 124–9, 135, Pitt, Brad, 207 137, 139–40 Plato, 40, 159 and sexuality, 79–80, 89, 117, 125, The Symposium, 159 131–8, 140–1, 166 Pompeii, 27, 86–7, 103, 106 Novello, Ivor, 3, 4, 33, 40, 49, 117, Polo, Eddie, 50 126, 137, 193 Polyclitus, 124 Pompey, 62 O’Brien, Eugene, 76–9, 78, 80, 81 Pope, Alexander, 55 O’Brien, George, 50, 68, 205 Pope Pius XI, 90, 125 Olympus, 1, 20, 39, 49, 102 Pope Gregory, 20, 33 Oracle of Delphi, 22 Pope Urban VIII, 133 Ovid, 57 Porter, James I., 44, 64 Poseidon, 110 pagan / paganism, 8, 17, 19, 21, 29, Postle, Martin, 137 33, 36, 43, 90, 99, 100, 106, 107, Potts, Alex, 23, 24, 34, 69, 79, 123, 109, 111–12, 115, 122, 123, 124 124–8, 132, 133, 134, 135, 137, Price, Charles Matlack, 197–9, 200, 139, 140, 141, 165, 169, 171, 180, 201 183 Prisoner of Zenda, The (Rex Ingram, painting, 3, 7, 8, 28, 29, 57, 59, 61, 62, 1922), 113, 118 66, 71, 81, 100, 104, 107, 108, Private Life of Helen of Troy, The 154, 170–1, 185, 205 (Alexander Korda, 1927), 51, 59 Pan, 49, 172 Panini, Giovanni Paolo, 8, 63, Proteus, 110 104 Psyche, 50, 65, 66 Paramount (studio), 50, 54 psychoanalysis, 129, 189 Paramount Theatre, New York, see also Freud 107 Putti, Lya de, 51 Paris, 13, 88, 94, 97 Pygmalion myth, 3, 22, 29, 34, 39, 40, Parnassus, Mount, 30 45, 49, 54, 55, 57–8, 59, 64, 72, Parthenon marbles, 38, 207 73, 86, 157, 172, 175, 185, 191, Pathé, 42 194, 195, 202 Pater, Walter, 39, 123–4, 133, 137, Pyroteles, 32 171 Paton, Lewis Bayles, 180 Quo Vadis (Gabriellino D’Annunzio, Patroclus, see Achilles Georg Jacoby, 1924), 98 250 Index

Radio Corporation of America, 195, Scully, Mary Alice, 146, 149–50, 154, 206 169 Ralston, Esther, 50 sculpture, 1, 3, 7, 10, 24, 28, 29, 30, Rambova, Natacha, 94, 98, 103, 178 37, 39, 43, 47, 53, 54–5, 56, 57–8, Reid, Wallace, 179 59, 60, 61, 62, 64, 67–79, 78, 81, Renaissance, the Italian, 8, 21, 33, 36, 87, 100, 103, 105, 111, 123, 124, 90, 100, 104, 126, 137, 199 133, 137–8, 140, 156, 157–8, 162, Reynolds, Sir Joshua, 10, 100, 104, 137 164, 168, 169, 175, 182, 185, 192, Riefenstahl, Leni, 74 195, 196–9, 200, 205 Robert, Hubert, 104, 105, 105 Anzac Memorial, Sydney, Australia, Roberts, J.M., 178 192 Robeson, Paul, 15 Column of Antoninus, 191 romanticism, 9, 23, 50, 58, 76, 85–6, Polykleitos’ ‘Doryphoros,’ 137, 88, 92, 95, 98, 100, 104, 110, 121, 140 122, 123, 148, 149, 150, 158, 165, ‘Night’ (Michelangelo), 175 166, 171, 173, 183, 185, 186–9, ‘Praxiteles’ ‘Hermes,’ 140 190 ‘Discobolos,’ 73 Romantics, the, 21, 31, 102, 103 ‘Fighting Gladiator,’ 73 see also Keats, Shelley ‘Winged Victory of Samothrace,’ Rome, city of, 8, 20, 33, 73, 79, 89–90, 76–9, 78,81 91, 94, 98–9, 99, 101–2, 103, 108, see also Apollo, Hercules / Heracles, 125, 130, 133, 137 marble, Venus Rome, Imperial, 4, 5, 9, 10, 29, 36, 37, Search for Beauty (Erle C. Kenton, 64, 86, 96, 107, 115, 122, 130, 1934), 3 139, 185–6, 199 Secrets of a Soul (G.W. Pabst, 1926, Castel Sant’Angelo, 79, 90 Geheimnisse einer Seele), Coliseum, 30, 98–100, 101–2, 107, 41 199 Semon, Larry, 89 as ‘eternal city,’ 99, 102, 103, 108 Shades, 42 Pantheon, 29, 30, 31, 205 Shallot, Lady of, 50 Vatican City, 81, 101, 125 Sheba, Queen of, 52 Villa Borghese, 98, 133 Sheik, The,19 Rottger, Herman, 115 Shelley, Percy Bysshe, 37, 103 ruins, see Antiquity Shepherd’s Bush Pavilion, 193 St. John, Adela Rogers, 122 Showalter, Elaine, 156 Sagor, Frederica, 146, 150–2, Sicily, 89 169 Sirens, 23, 52, 58, 145, 163 Saltus, Edgar, 186 Smythe, Hilda D., 193 Sandow, Eugen, 58, 73, 99 Son of the Sheik, The (George Schildkraut, Joseph, 68, 116 Fitzmaurice, 1926), 126, 179, 182, Schallert, Edwin, 146–7 194, 199 Schell, Sherill, 193 Sontag, Susan, 71, 195 Schiller, Johann Christoph Friedrich Sparta / Spartan, 51, 98, 178 von, 86 Speer, Albert, 105 Schlegel, Friedrich, 6 spiritualism, 176, 179 Scott, Charles Newton, 43 see also Valentino, Rudolph Scott, Kathleen, 67 Stacey, Jackie, 87 Scott, Peggy, 188–9 Stanhope, Mercia, 187 Index 251 stardom, 45, 52, 53, 59, 60, 62, 64, 69, Valentino, Rudolph, 8, 15, 19, 23, 45, 72, 76, 87, 92, 100, 116, 118, 120, 49, 93–103, 99, 104, 105, 106, 137, 141, 175–6, 188, 190, 193, 108, 112, 117, 126, 127, 129, 169, 196, 199, 201, 202–3, 205–7 173, 175–201, 184, 202, 203, 207, Stead, William T., 35 223n13, 223n26 Stendhal (Marie-Henri Beyle), 79 male fans of, 49, 186, 189–90 Studlar, Gaylyn, 49 national identity, 94, 95, 97, 117, Styx, river, 167 127, 169 Sudermann, Hermann, 145, 146, 147, sexuality, 95, 97, 117, 137–8, 190 148, 151, 153, 157, 158, 160, 164, spiritualism, 178–81, 182–3 165, 172 Vatican City, see Rome, Imperial Sunset Boulevard (Billy Wilder, 1950), Venus, 1, 4, 13, 33, 37, 39, 50, 51, 52, 12 54–7, 59, 62, 63–6, 69, 79, 103, Swanson, Gloria, 12, 15, 54–5, 56, 57, 104, 105, 145, 163, 164, 165, 169, 58, 62, 63, 64, 65, 66, 67, 69, 70, 203, 205, 207 79, 95, 103, 104, 105, 169 ‘Aphrodite of Knidos,’ 57–8 Schwarzenegger, Arnold, 14 ‘Aphrodite of Rhodes,’ 65 Swartz, Vanessa, 195 ‘Bathing Venus,’ 164 Sweet, Blanche, 89 ‘Venus,’ Botticelli, 50 Symonds, John Addington, 171 ‘Venus of Cythera,’ 57 ‘Venus de Milo,’ 1, 15, 54, 56, 59, Talmadge, Norma, 42 64, 65, 66, 95 Technicolor, 139 Virgil, 61, 105, 106 Theby, Rosemary, 51 Vitaphone Talking Pictures, 205, 206 Thomas, Olive, 45, 178 Thornycroft, Sir William ‘Hamo,’ 69 Walker, Alexander, 12 300 (Zack Snyder, 2007), 207 Wallace, General Lew, 114–15, 118, Tinted Venus, The (Cecil M. Hepworth, 132, 133, 135 1921), 57 Walsh, George, 114, 116, 117, 118, Tonks, Henry, 66 126, 130, 138 trauma, 4, 8, 40, 44, 45, 76, 106, 126, Warburg, Aby, 45 164, 170, 188, 192 Warner, Marina, 195 Troubetsky, Prince, 72, 197 waxworks, 194–5, 196 Troy, 33, 87, 148, 172 Wayne, John, 138 Troy, Helen of, 50–1, 59, 65, 101, 105 Weber, Jake, 118 Troy (Wolfgang Petersen, 2004), 207 Weigall, Arthur, 85–6, 87, 88, 93, 111, Tunis, 89, 107 190 Turner, Frank M., 48 What Price Glory? (Raoul Walsh, 1926), Turner, Joseph Mallord William, 156 107 White, Pearl, 20, 89 Tutankhamen, 52, 85, 88, 196 White Sister, The (Henry King, 1923), Tyler, Parker, 16–18, 35, 41, 68 126 Wills, Garry, 138 Ullman, George, 195 Wilson, Carey, 122 Ulysses, see Homer / Homeric Winckelmann, Johann Joachim, 23–4, Undying Past, The (novel, Es War), see 33–4, 38, 44, 48, 62, 63, 91, 107, Flesh and the Devil (Clarence 111, 112, 123, 158, 163 Brown, 1926) and homoeroticism, 34, 39, 79, Universal (studio), 41, 80 80–1, 158 252 Index

Winkler, Martin M., 12, 39, 61 118–21, 123, 124–5, 127, 133, Winokur, Mark, 14 134, 135, 139, 151, 154, 156, Wood, Francis Derwent, 140 160, 167, 171–2, 174, 175, Woods, Gregory, 49, 135 176, 182, 183, 191, 192–4, Wyke, Maria, 6, 12, 15, 46, 107 197–8, 199, 202, 205, 207 Yeats, W.B., 121 youth, 1, 7, 34, 42, 46–7, 50, 52, Zeus, 159, 165 60, 72, 79, 81, 109, 116, 117, Zucker, Paul, 103–4