Rumors that Alberto Valentino is being groomed to succeed his late brother, Rudolph Valentino, on the screen have been received. It is stated that-Gugiielmi has submitted to vain operation of plastic surgery. Alberto Valentino’s face, it is said, has been re-modeled on lines resembling those of the late screen idol, his bold and belting nose being altered to a classical shape. Guglielmi came to the US a year ago to attend his brother’s funeral
Monthly Archives: March 2014
Five wealthy women who still sigh over Rudolph Valentino today bought his fabulous hilltop home as a shrine. The middle-aged matrons from San Francisco paid 30,591 GBP for Falcon’s Lair where the sleek-haired sheik lived before he died in 1926. The house was sold by another Valentino fan, Gypsy Buys of San Francisco who also paid the same amount for it three years ago. She refused to give the names of the new buyers. The new owners said that they planned to restore the Spanish style mansion as a lasting memorial to the great lover. All that is left of the original furnishings is Valentino’s Venetian Bed.
Haydon Talbot was a talented writer in both Hollywood and on Broadway. He authored books and newspaper articles as well. When conducting research for this blog post, I literally had to dig deep through old newspaper articles to give you the reader a glimpse of what his life was like. I do know he was married more than one time and had one daughter from his first marriage. Here are a few which will give you an idea what a talented man he truly was.
On 21 Jul 1917, Hayden Talbot, has capitulated to the call of the motion picture. He was engaged this week, to write original stories jointly for the Bessie Barriscale Feature Corporation and the J. Warren Kerrigan Feature Corporation and will hereafter devote his time exclusively to these two organizations.
On 24 Nov 1917, Hayden Talbot a well-known journalist, foreign correspondent and playwright is the most recent addition to his newspaper experience. Talbot is well-known in the theatrical world, and has met with considerable success in the motion picture industry. Among Talbots plays are “The Little Joker”; “The Truth Wagon”; “O’Joe” produced by Oliver Morosco, at the Burbank Theater, Los Angeles with Walter Edwards, now a Triangle Director. He has also been entrusted with a picture called the “Alimony” which had just been purchased by the First National Exhibitors Circuit for release in December.
On 9 Jul 1921, Hayden Talbot, playwright, and now a writer for London newspapers, must furnish a bond of $10,000 before he can be released from Ludlow Street Jail, where he was sent on 9 June on an order, obtained by his former wife Mrs. Bernice F. Talbot, for unpaid alimony. Talbot pleaded guilty with the court to release him because he was sent here to interview public men, and had an appointment with the Secretary of State Hughes in Washington, DC. he said.
In late 1923, Hayden Talbot first met Michael Collins at the Gresham Hotel in Dublin, shortly after he had signed the Treaty with England. He states that in nine months of intimate association Collins was “the finest character it had ever been his good fortune to know”, and a friendship that Talbot valued more than any other he had ever made. Hayden Talbot wrote a book on Michael Collins.
This article wraps up our series of articles on Rudolph Valentino’s movie “The Married Virgin”.
Born on 31 Jul 1891, in Salt Lake City, Vera Sisson began her career in 1913 when she was 22 years old. A former extra, early silent screen actress Vera Sisson skyrocketed to fame opposite one of the era’s great matinee idols, J. Warren Kerrigan, with whom she did a series of popular outdoor melodramas in 1915-1916. Vera was a character actress who made a total of 79 Silent Films during her career. Her most famous role is when she played in “The Married Virgin” (1918), in which she appeared with a pre-stardom Rudolph Valentino. In 1921, Vera married Richard Rosson whose brother Hal Rosson, a cinematographer who was married to actress Jean Harlow. In 1953, Richard Rosson committed suicide. On August 6, 1954, at the age of 63, Vera died of a barbiturate overdose and is buried at Hollywood Forever Cemetery.
Mae Murray, the glamorous, famous, and beautiful Hollywood icon who told the press, “Once you become a star, you are always a star!” was found destitute at the age of 75, aimlessly wandering the streets of St Louis, Missouri.
Marie Adrienne Koenig was born of Austrian-Belgian parentage May 7, 1889, in Portsmouth, Virginia. Years later, she told everyone she was born Mae Murray, “On my father’s boat, whilst we were at sea.”
The imaginative and ethereal Mae also stated that a great-grandmother had raised her, placing her in several European convents. While in one of the churchyards, she told, she was punished for dancing in the gardens at night pretending to be a firefly and striking matches as she fluttered through the grounds.
In 1906, the stunning young performer made her Broadway debut in About Town. Murray then danced in three editions of the Ziegfeld Follies; in 1907 as the partner of the famous Vernon Castle, and alone in 1909 and 1915. The dazzling Murray also appeared in numerous other musical comedy roles and headlined performances in fashionable New York supper clubs.
Still in her teens, Mae married W.N. Shwenker Jr., the son of a millionaire. She got out of that marriage with some funds, and secured her second husband, producer Jay O’Brien, a stockbroker and Olympic bobsled champion known as the “Beau Brummel” of Broadway, and who proved to be helpful in Murray’s stage career.
Only days after their highly publicized wedding, and soon after her involvement with Rodolfo Guglielmi, a dancer billed as Signor Rodolfo who was later to become Rudolph Valentino, in the De Saules affair in New York in which Valentino’s socialite lover shot her husband to death for him, she dumped Jay and had the good fortune to marry Hollywood director Robert Z. Leonard. They lived in a beautiful apartment at 1 West 67th Street in New York. With this union she found her true destiny as a movie queen, and made her film debut in the east coast filmed To Have And To Hold (1916). Blonde and sensuous, standing five-foot-three with blue-gray eyes, the hideously arrogant Miss Murray was completely obsessed with her beauty.
She became famous for the extreme and unusual application of her lipstick, soon copied by millions of fans, and was widely known as “The Girl With The Bee-Stung Lips,” a title of which she tried to claim exclusive copyright. Often seen zipping through town in her custom-built Canary Yellow Pierce Arrow, the star was always opulently dressed and dripping in jewels. Once, reportedly, when purchasing some jewelry at Tiffany’s, she paid for it with tiny bags filled with gold dust.
In Hollywood, Murray’s films included The Right To Love (1920), The Gilded Lily (1921), The French Doll (1923), Jazzmania (1923), Circe The Enchantress (1924), and Fashions Row (1924). One critic wrote of her film Mademoiselle Midnight (1924) as “More of Mae Murray’s fuss and feathers thinly described as acting. This time Mae has her histrionic hysterics in Mexico. The general blurred impression given by the picture is this: Mae Murray-large mountains-Mae Murray-midnight love trysts-Mae Murray-a weird fandango by somebody described as a screen star-Mae Murray-cowboys having spasms-Mae Murray.”
The public loved her. The exquisite and elaborate costuming she insisted upon often brought her movies in way over their budget. Yet, Mae Murray danced her way to even greater heights of fame in Erich Von Stroheim’s The Merry Widow (1926). During the filming, their artistic differences and verbal brawls became an infamous Hollywood legend. She often referred to her director as “that dirty little Hun,” which she brazenly called him in front of a thousand extras magnificently dressed for a ballroom scene.
One day, her co-star John Gilbert walked off the set during one of his own disputes with Stroheim, and the tenuous Murray chased after him to the parking lot while wearing nothing at all but her shoes. Also during filming, the very young Joan Crawford often watched and studied Murray intently, learning how to be a star. The Merry Widow became MGM’s first big box office hit. The movie was extraordinary, with lavish production values and gorgeous photography. Mae Murray gave the best performance of her career, and then toured the nation holding lucrative performances of her Merry Widow Waltz. She followed this film success with Valencia (1926).
One of Murray’s glamorous screen rivals, Gloria Swanson, married the Marquis Henri de la Falaise de Coudray, and became royalty. This infuriated Murray, who wanted to become royalty too. Dumping her third husband, Murray found and married broke Ukrainian Prince David Mdivani in 1926. His royal status in his native Georgia was never truly established.
The headline producing ceremony included Rudolph Valentino, who died that same year, and his paramour, sultry star Pola Negri, Mae’s other screen rival, as matron of honor. Not to be outdone by Princess Mae, and not so long after the professed love of her life died, Negri married David’s equally broke brother Sergei in 1927 and became Princess Pola, as well as Princess Mae’s sister-in-law. The two Princesses were completely committed to the important cause of showing the world they were above mere mortals.
With Prince David, Murray had a son named Koran. Princess Mae was rarely photographed without her head swung way back, looking down her nose at her adoring husband and fans. She stated to the press, “I’ve always felt that my life touches another dimension.” When her marriage went bad, her doctor told her, “You live in a world of your own.”
Mae’s sweet Prince became her manager, took over her finances and insisted she walk out on her MGM contract to work independently. Soon, she found it difficult to get any roles at any studio. Sound film hit Hollywood. Her final movie was Bachelor Apartment (1931) with Irene Dunne, and the world was not pleased when it heard her voice.
By 1933, she was broke, ordered by the court to sell her opulent Playa del Rey estate to pay a judgement against her. Prince David now found her useless, and they soon divorced. In 1934, Murray declared bankruptcy. By September of 1936, she lost custody of Koran, and the former movie temptress was spending several nights sleeping on a park bench in New York, where she was arrested for vagrancy. The owners of the 67th Street residence where she resided luxuriously years before allowed her to live in the maid’s room of the building.
In 1950, back in California, Mae Murray was asked her opinion of the great film Sunset Boulevard, which starred her old rival from the silent film days, Gloria Swanson. Mae stated, “None of us floozies was ever that nuts.” Ironically, Mae was the nuttiest of them all. Walking down Sunset Boulevard with her head thrown back even further than she had done in her youth, Mae created a smoother jawline, watching the sky as she carelessly moved towards treacherous curbs and posts.
At the numerous charity balls she would attend, Mae Murray would ordain the orchestra to play the theme song from The Merry Widow soundtrack, waltzing to it by herself until all the elegant guests left the floor. In 1959, a biography of her life appeared, The Self Enchanted by Jane Ardmore, but the public was not interested. In 1961, she appeared on a television program where she stated that the only present day movie star who matched the talents of her time was the handsome Steve Reeves, famous for playing Hercules.
In 1964, living off charity and devoted friends, the poor deluded Murray continually traveled by transcontinental bus from coast to coast on a self promoted publicity tour, hoping for a comeback in movies. On the last of these excursions, she lost herself during a stopover in Kansas City, Missouri, and wandered to St. Louis. The Salvation Army found her and sent her back to her small Hollywood apartment near the Chinese Theatre, paid for by actor George Hamilton..
Mae Murray’s millions of dollars had been spent during a bitter life filled with lawsuits over salary agreements, damages, divorces, and bankruptcies. Some of Mae’s old friends made sure the still regally dressed and bejeweled star spent her last days in peace at the Motion Picture Country House where she often told the nurses, “I am Mae Murray, the Princess Mdivani,” and died in peace March 23, 1965.
During the height of the depression of the 1930’s, which had wiped away many fortunes, Mae Murray gave an interview, lucidly describing the Gods and Goddesses of her Hollywood days. “We were like dragonflies. We seemed to be suspended effortlessly in the air, but in reality our wings were beating very, very fast
“Valentino said there’s nothing like tile for a tango!” — Norma Desmond to Joe Gillis in Sunset Boulevard (1950)
Mrs. John McMillan is having an affair, unknown to her husband and her stepdaughter Mary, with fortune hunter Count Roberto di San Fraccini. Overhearing a man threaten her husband with exposure for his connection with a murder unless he agrees to pay a huge sum of money, Mrs. McMillan conceives of a scheme with her lover the Count to acquire Mary’s dowry. Roberto informs Mary that in return for her hand in marriage, he will save her father from life in prison. Although desperately in love with Douglas, a young engineer, Mary agrees to the sacrifice, entering into a marriage in name only. Roberto continues his affair with Mrs. McMillan until, during an automobile ride, an accident occurs and she is killed. Roberto, fearing that he may be blamed, runs away. Mary then secures an annulment of her marriage to Roberto, thus freeing her to marry Douglas, the man she loves
The Married Virgin is an American film drama first released in 1918, directed by Joseph Maxwell. The film was scored by Brian Benison. It stars Vera Sisson, Rudolph Valentino, Frank Newburg, Kathleen Kirkham, Lillian Leighton, and Edward Jobson. It has also been released under the title: Frivolous Wives. It is a Maxwell Production, distributed by General Film Company. Film Length is 1 hour and 11 minutes.
Director Joseph Maxwell, Fidelity Pictures
Screenplay/Story Hayden Talbot
Cast Vera Sisson, Rodolfo di Valentini, Frank Newburg, Kathleen Kirkham, Edward Jobson, Lillian Leighton
Plot – Rudolph Valentino’s first film as a leading man where he plays Count Roberto di Fraccini, a fortune hunter having an affair with the wife of a wealthy older businessman. In order to save her wealthy father from disgrace and a possible prison sentence, a daughter agrees to marry the gigolo who’s been blackmailing him. What the daughter doesn’t know, however, is that the gigolo is actually in cahoots with her father’s new wife, a conniving schemer who plans to fleece her new husband for everything he has, then flee the country with her lover.
Paul Poiret was the favorite clothing designer of Natacha Rambova who felt he understood her as no one else did when it came to making clothes that favored her flamboyant personality.
In 1879, Paul Poiret was born in Paris he interned at Jacques Doucet who was a famous couturier of the time. In 1901, he was hired by the famous Worth House of Design. In 1903, he set up his own Atelier of Poiret. In the early 1900’s which was considered one of Poirets influential periods in fashion he was interested in “The Orient” Russian and Cubism. Poiret claimed to have been a Persian prince in a previous life. Significantly, the first Asian-inspired piece he ever designed, while still at Worth, was controversial. A simple Chinese-style cloak called Confucius; it offended the occidental sensibilities of an important client, a Russian princess. To her grand eyes it seemed shockingly simple, the kind of thing a peasant might wear; when Poiret opened his own establishment such mandarin-robe-style cloaks would be best-sellers This had a great impact on Natacha’s own aesthetic which is what she became known for. In 1913, he came to NY and was a clothing designer to Cecille B. Demille. In 1923, Natacha first visited his Atelier which was documented in a Photoplay magazine article. His clothing displayed vibrant colors which managed to capture her personality. In Jan 1924, during another visit to his salon, Rudolph Valentino was quoted as saying that “he is the one costumier in Paris best suited to Natacha’s style, even temperament. We went to one or two other places and looked at their models, but for the most part they were wishy-washy things of pastel shades, with oddments of flowers here and there. Natacha cannot wear that sort of thing. She is not at all the type. She looks best in vivid colors, no one color over another, but all colors that are violent and definite. Scarlet’s, vermilions, strong blues, empathic greens, and loud voiced yellows”. Natacha’s next visit was Aug 1924; she came by his Atelier to pick up some dresses that she had ordered. In 1925, she staged a media event when she traveled from Los Angeles to Paris to pose for photographer James Abbe at famous clothing designer Paul Poiret’s salon. She modeled a pearl-embroidered white velvet gown and a chinchilla cloak, and declared Poiret her favorite couturier. In 1929, Poiret closed his Atelier because his aesthetics conflicted with modernism even though his designs back in the early 1900’s were advanced for the times. In 1944, Paul Poiret died in poverty virtually forgotten. However, through research a new generation has come to appreciate his genius in costume design. In 1927, when Natacha Rambova because a clothing designer in her own right, she did use Paul Poiret as an inspiration but with her own dramatic touch in the clothing that she designed.
“It was my inspiration of artists, in my dressing of theatrical pieces, that I served the public of my day”..Paul Poiret, Clothes Designer to Natacha Rambova
“But if ever my belief in myself should utterly fail me. If the day should come when my struggle for my individual Right should wear me threadbare of further effort, then I should come to a garden place where the sky would ever be blue above me, where my feet would press soil as vernal and virgin as I could find, where, below me, under white cliff’s, the sea could sing me its immemorial lullaby. I think, there must, at one time or another, have been sailors in my family. For the sea pounds in my veins with a tune I still remember and I know that I could not have remembered it in this life I have lived”.–Rudolph Valentino
Rudolph Valentino— than whom there is not one more soul stirring— is ‘not’ handsome in the strict sense of the word. The back of his head is too straight up and down, and unless the camera gets him at just the right angle, his nose is too, broad for beauty. Yet he is the screen. idol of the feminine world. Ask half a dozen women why they find Valentino charming, and you will receive half a dozen different answers. A prominent screen artist in Los Angeles recently said: ‘I think Valentino is perfectly fascinating.’ ‘He looks as if you couldn’t believe a word he said to you. ‘Those gorgeous eyes, ‘another will say ‘Dark and enigmatic, like dull coal smoldering, yet ready to leap suddenly into passionate flame. They are undoubtedly part of his lure.’ Sometimes he looks like a small boy who is being abused, so that every woman wants to pat his shiny head and comfort him. Still, she knows perfectly well that he is .not, a small boy, and that it would be rather like patting dynamite-which, of course, makes him very fascinating.