15 Apr 1924 – Movie Star Taxes

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1919

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Although Rudolph Valentino did not appear in this film. D.W. Griffith did give him a screen test. I think he would of been a perfect fit in this film.

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“Children ARE romance. They are the beginning and the end. They are romance, before their bright wings are clipped, before ever they have trailed in the dry dust of disillusion”.. – Rudolph Valentino, 1926

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1927 – Speaking of Divorce Interview with Miss Natacha Rambova

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This newsarticle interview featuring Natacha Rambova, dancer, designer, and former wife of the late Rudolph Valentino.  Miss Rambova feels her opinion on the subject of divorce can bring clarity and help women who read this article is reason for participating.  Miss Rambova starts the discussion by saying “I would hate to suggest anything that would make this supposed democracy less free and equal than it is already. Nevertheless, I would like to see marriage made difficult and expensive and divorce easy and cheap to obtain”.  A most beautiful lady says this a lady you all know and many of you have seen: a tall slender leady in a golden robe with great splashes of purple and a ruby turban bound closely about a pair of wondrous eyes and a brow like cream satin.  A lady of experience she is, and of deep learning, with a flair for the mysteries of the East and an unquestionable conviction that we can communicate with the so-called dead, who live in a world of their own, a world of spirit, yet amongst our very selves. Natacha Rambova alias Winifred Hudnut once the wife of the most loved of all move screen stars Rudolph Valentino. Rudy to her, a Rudy still loved and still adored and still a friend, invisible but articulate.  Miss Rambova typing manuscript at a table in a sun-flooded room high up above the Park, rises and comes forward looking like a being from a Tennyson poem or an Ibsen play, a sort of “Lady of the Sea” with slim cool hands and a quiet manner.  It is a good thing Chi-Chi also present with his chop bone and a few Pekingese sniffles to remind us we are in the everyday world.  For we are going to talk of a rather everyday thing divorce, why it is and what’s it all about.  We asked Natacha Rambova to go on and say some more.  How would she make marriage harder and divorce easier? Wouldn’t drastic laws tend to make people disregard them? Would that be better or worse than what we have now? Can human nature be “prohibited” by this statute or not? What of property and children? “It does seem”, she says from the corner of a deep black velvet sofa, “rather presumptuous to talk of legislating people into happy marriages, and my mind isn’t legal enough to work out a plan”. “But there should be some way to compel people to know more about each other before they marry. You’ll think me hopelessly unoriginal to advocate trial marriage. But if marriage were difficult to enter and could then only be contracted for a term of say, five years at a time, I believe men and women would try harder to remain attractive, kind and companionable so that they would be wanted for another five-year term.  As it is too many people, once given the marital life sentence, cease making an effort to love and be loved.  He’s taken me says the wife now let him work for me and make me happy. While the husband says I’ve married her and gave her a home now I can go my own way without having to pay attention to her all the time. There are many things about marriage besides its permanence says Miss Rambova. For instance, I don’t think a girl and a man of different races or nationalities ought to marry, unless they know each other’s background thoroughly and sympathetically”.  Our mind flashed back to the Italian Rudy and his presumably Old World ideals of women, wives and marriage, and our glance traveled from his portrait in a silver frame on the piano to the beautiful living woman on the divan who legally freed herself from him less than a year before his death. Before we could frame the personal question, Miss Rambova went on “during courtship differences of opinion are diverting and rather ‘cute’. After marriage, they become tragic. They can never be smoothed over, because what has been implanted in the mind of youth, with centuries of heredity behind it, cannot be allowed.  Arguments only make it worse.  During courtship the arguments may end in laughter for your life is not actually affected by these differences of opinion. After marriage it is, and so the arguments end in tears and anger.  “Another reason marriage goes wrong is that man and wife are either too much together or not enough. There is no life-balance living closely in small homes, as we do these days, leads to boredom or outright disgust.  Being apart for long periods of time, as happens in the theatrical world and often when the wife is a business or professional woman gives each the bachelor habit and mutual interest dies.  “Possibly the worst of all marriage wreckers is interference from outsiders.  Husbands and wives are often not allowed to work out their lives in their own way.  Relatives won’t leave them alone.  Mothers, mothers-in-law and friends, relatives mixed in and cause hopeless situations. Sometimes the exigencies of public life rob a couple of happiness. There is no such thing as complete freedom of action. Everything we try to do is hampered more or less by what we owe others.  Because of these and a hundred other things that make one American marriage in four a failure, we certainly ought to make it easy to get divorced. When you’re through your through, that’s all and should have divorce for the asking and without having to give any reason at all”. We asked the lovely Natacha, what she’d do in case only one party to the marriage wanted divorce and he other wanted to go on loving and trotting the double harness. “Grant it, anyhow she said. It’s one of the chances you take when you marry, and you should be ready for it.  It’s all the more reason why everything from health certificate to a bank balance should be required before marriage, and then only a short-term contract be given on approval. To be renewed if mutually desired or cancelled, and one more chance given to make a permanent choice”  “Oh just one more chance given”? “Well the divorced wife of Rudolph Valentino spread both slender hands wide, with eyes to match said otherwise it would be just a series of on approvals a sort of legalized free love and that would certainly not be constructive”.  Miss Rambova doesn’t like the “Interlocutory decree” feature of divorce. She thinks once you’re through your through and a six month wait before a second marriage can take place leads to hardship and temptation”. But I couldn’t help but wonder why she would say that when she did the very thing with her former husband. Her and Rudolph Valentino married before the decree was up and there were charges of bigamy making them front page news. During the interview, Miss Rambova speaks of Rudolph Valentino with tenderness and understanding. One senses that proficient actor as he was, was in some ways quite a child and that the beautiful young woman with the magenta turban loved him with just a touch of the maternal. “No one, she says simply was ever more devoted to Rudy than I was and still am.  Which makes me add from deep, deep feeling of its truth that no marriage can be a true marriage without spiritual love, for other love vanishes, is often destroyed by persons and by circumstances.  But love that is of the spirit lives on”.  There you have it readers Miss Rambova’s opinion on divorce.

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1927

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1927

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2 Apr 1922 – Valentino Misses Again

Mrs. Edward Franklin White, Deputy Attorney General of Indiana, in an informal opinion expressed the belief that the latest marriage ceremony of Rudolph Valentino and Winifred Hudnut at Crown Point, Indiana last week was illegal. The Indiana law, according to Mrs. White, provides that the woman be a resident of the county in which the marriage license be granted.

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1923 – Vogue Photo Shoot

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30 Mar – Sheik Spurs Wedding Ceremony offer in Louisiana

Rudolph Valentino and his dancing partner during the Mineralava Tour kindly spurred an offer of Louisiana officials to marry there. The Sheik and his dancing partner left New Orleans for Montgomery, Alabama ignoring the elaborate wedding plans prepared for them by interested parties. Dominick Tortorich, who stage-managed their appearance here at the concert hall last night was said to have arranged for a clergyman and witnesses. Attorney General Coco informed promoters of the project that if the marriage was performed it would be “legal beyond doubt”. But the Sheik and his soon to be again wife sped out of town in their specially appointed Pullman Car and matrimonial plight still unresolved.

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27 Mar 1926- Learn About Clothes by Mrs Rudolph Valentino

As told to Elsie McCormick.
It’s a pity that the American business girl who thinks that good dressing is the twin sister to the dollar sign can’t stand outside one of the French banks and watch the employees file past for the noon hour. She would see a procession of young women who might have walked out of the pages of the Social Register or from the open covers of a fashion magazine. But no matter how might she strain her eyes, she wouldn’t find one jingling set of cheap glass bracelets, or the flare of an imitation diamond brooch, or even a string of pale and chalky pearls. Neither would she see any limp, all-over-design silk dresses that didn’t have a speaking acquaintance with a mulberry tree. The French business girl never looks like a Woolworth imita tion of a Fifth Avenue model; she has an authentic smartness that is distinctly her own. The crux of the matter is that the French girl dresses to please men, whereas the American girl has allowed herself to be bludgeoned into dressing for other women. Men who know whether or not a gown is the latest scream or how many times they have seen it before on the same young lady are even scarcer than Druses who would rise during the playing of the “Marseillaise.” But unless a man is blind or a professional imbecile, he recognizes a pleasing ensemble Vvhen he sees one, and frequently, he can even tell real smartness from its basement imitation. As the object of most business girls is to achieve a happy and prosperous marriage, their persistence in dressing for other women is as short-sighted as the vis ion of a ground mole.Let us take for our laboratory specimen * a young stenographer who is making 30 dol lars a week and who supports herself but is without dependents. The amount that she can reasonably afford to spend on cloth es is certainly not over 360 dollars a year -a dwarf sum for anybody whose head is filled with fur coats or silver lace evening gowns or slippers with jewel-studded heels. But if she chooses well and divides the money wisely, she can look as smart as any young lady who ever dragged a languid foot In a fashion magazine. The very first thing she must remember Is that in nine cases out of ten smartness is only another name for simplicity. Of course the intelligent stenographer might explain that she can’t find, for the price that she can pay, any dresses that have the chic of real simplicity. Very probably she can’t. The cheaper stores are choked with gowns made out of boisterously patterned silk or trimmed with everything left over from last Valentine’s Day. Therefore the girl who can’t afford expensive dresses shouldn’t buy her clothes ready-made. First of all, she should take a hint from the Frenchwoman and select the two or three general designs that are most flattering to her figure. Next she should get some good material from a reliable department store and have it made up by the best of the neighbourhood dress makers. The girl who lives in New York is un usually fortunate, because there is hardly a block in the brownstone district that doesn’t contain a Russian emigre or a talented Viennese with chic in her fingers and a board bill on her ljrtind. If she only looks about and inquires a little, the questing stenographer «an find Fifth Avenue style for hardly more than Austrian prices i want above all to pound hard on .this . idea of getting good material. Every girl who has bought a cheap dress knows that after a few weeks’ wear it looks like the third best gown of a Connecticut scarecrow. Good material, whether* silk or wool, doesn’t stretch or bag or grow shiny even after it acquires many service stripes. Besides, it can always be ripped up and used again when the wearer grows tired of its present design. Probably the most difficult problem for the girl with a small income is the buying of a winter coat. Unless she lives in a climate that is an understudy for Baffin’s Bay, she should not put her money into a foreign imitation of seal or mink or squirrel. If I were in her position I’d get some good broadcloth and have it made up into a thick ly-lined, fur-trimmed coat of a style not too positive to be worn for several years. I’d choose a shade of dark blue or dark purple for then the coat would be
appropriate for dress wear, whereas brown and tan are proper only for evevy-day. If I couldn’t afford really good fur for the trimming. I wouldn’t substitute any of the mangy little pelts that one finds in the cheaper stores. Instead. I’d give the illusion of fur by hav *ns; full barrel cuffs and a similar collar. Such a coat could serve as best for two years at least, and latter be demoted to ordinary use for a few years more. The wise stenographer must brace her feet hard against her common sense and do her best not to slip into temptation. With fin gers crossed and eves closed, should walk past the gaudy lure of sequins or metallic cloth or rhinestone-snrinkled tulle. Fine, durable satin, soft taffeta or softer crepe are the only materials whose heckoninss should be noticed. Even velvet is not en tirely practicable, because, lik« the furpace, it hibernates during the summer. For an afternoon dress, no girl can do better than to invest in a. handsome black satin. Its advantage of being an all-season material is so great that it can’t be sneezed at, even by a hay-feVer victim. Besides,there is nothing’ that lends itself more. readily to graceful drarin? nor that better defies the memory, of too watchful friends. By varying necklaces or touches at the cor sage, a can make it give the illusion of being a whole wardrobe in itself. Camels from Asia liave recently come for ward viriph an answer to the problem of winter office dresses. One of the best materials I know is kasha, cuoth, made out of camels’ hair and as durable as if it had been woven, out of the Rock of Gibraltar. The fact that creases in it are hardly more permanent than the creases in a lake, and that it is light as well as strong, makes it one of the best developments in the cloth industry since the Persians smuggled silkworms out of China. The conning, of the small felt liat has created a millinery democracy unprece dented since the first
chief’s wife put an eagle’s feather in her hair. With two or three little felt hats, bright as colors flicked off a palette, the stenographer is as well topped as any lady on Park Avenue. The large advantage of the small felt is that one can wear it just as appropriately when brooks are purling as when radiators are doing the same. With a chic black satin hat to match her afternoon dress, and perhaps one straw to use in bowing, to the spring, the steno grapher’s head is ready for every occasion that the year might produce. There must be many moments when the business girl wishes that she could clothe her calves in felt ?is well as her head. Silk stockings are the white woman’s burden, and this applies whether she is earning 30 dollars the only place where I depart from my axiom that cheapness has no relation to economy. There is a saying to the effect that the girl who buys* a cheap stocking gets a good run for her money, but so frequently does the girl who lays down ten dollars for a pair of shimmering cobwebs. A loose pron*? on a rins:. a hobnailed shoe in a street crowd, or a splinter on the leg of a desk can make an ambulance case out of any silk stocking in captivity, whether it came from a bargain counter or from the velvet-hung fastness of a haughty Paris shop. The subject of stockings leads naturallv into shoes. Here I am inclined to mount the rostrum find ask our hypothetical stenographer to from buying for street “wear either satin or patent leather. I have looked until my eyes ached at blunted, scuffed and satin jslippers, and at filmy ratent. leathers with cracks enough to remind one of ai> adobe road in an earthquake district. It is not neice&sary for the business girl to bury her feet in the clumsiness of an over sensible shoe, but if she really wishes to be well dressed she should hasten away from freak designs and give a few minutes’ medi tatiop to the usefulness of good suede and calfskin. Last of all, let me say a word about jewellery. The safest rule is to avoid, articles that are obvious imitations-that is, imitations of really precious and costly stones.There is no jDuore decoration gamut of bad taste, than, a string’ of tallow pearls, either dead white or fiusfred with an unhealthy iridescence. The fiirl whqJoaksabout a little can find reajjy charming beads for only a feiy dollars a Ptriner-compositions with the tonea of lai)is lazuli or the liveliness of clouded amtier. If she needs a brooch she will find it worth her while to forego the fl&shiness of glass diamonds and to (pay a little more for a quaint old gold design or a bit of twisted silver. To be well dressed on 30 dollars a week takes courage-courage to keep to simpli city; to eliminate the garish in favour of the fine, and to be willing to do with a few dresses despite the comments. But when the better job vacated or the new man from Harvard jothe office staff, the well-dressed girl is likely to find that her sacrifices – were quite worthwhile.
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Jun 1923 – Nashville, TN

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29 May 1915 – Bonnie Glass is Trouble

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Movie set of “A Sainted Devil”

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John Seitz – Cinematographer Four Horsemen of the Apocalypse

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John Seitz was a well-known Hollywood Cinematographer and was paired with director Rex Ingram on 12 films.   During the 1920’s he was the highest paid cinematographer and was the only one to receive credit in advertising.  During the filming of “The Four Horsemen of the Apocalypse” was a film of firsts.  The director worked closely with cinematographer to develop a matte shot and low-key lighting.  Seitz first introduced a dance dolly when filming the tango scene with Rudolph Valentino and Alice Terry. Total cost of the production was $1 million.  Cinematographer John Seitz’s breathtaking pictorial effects also helped launch Valentino’s and Terry’s careers.

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1950 – Did Valentino Prefer Tile to Tango On?

In 1950, Gloria Swanson, a former costar of Rudolph Valentino starred in the academy award nominated movie titled Sunset Boulevard about a faded silent film legend named Norma Desmond.  Throughout the movie there are several scenes that refer to Valentino. The first is her 1929 Italian luxury automobile an Isotta-Fraschini 8A, for $28,000.  This car symbolized luxury and elegance in the Silent Film world and Norma (Gloria) said this was the same type of car Valentino owned.  The car used in Sunset Boulevard is now displayed in Museo Nazionale dell ‘Automobile in Turin.

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The second is Norma and Joe (William Holden) dance the tango together.  To shoot the tango, cinematographer John Seitz used a device called a Dance Dolly, which amounted to a sort of moveable platform on wheels. Nothing special there. But when you learn that Seitz first introduced the technique to shoot Valentino dancing the tango in The Four Horsemen of the Apocalypse, you might be more than a little impressed.

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“Valentino said there’s nothing like tile for a tango!” — Norma Desmond to Joe Gillis in Sunset Boulevard (1950)…

Research shows there is nothing that truly says Valentino preferred tile to tango. In 1922, Gloria Swanson and Rudolph Valentino did dance the tango together in the silent film “Beyond the Rocks”.  So I would like to believe Valentino did prefer tile to tango on.

 

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1922

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1921 & 1924 Rudolph Valentino L.A. City Directory

In 1921, Rudolph Valentino was listed in the L.A. City Directory Hollywood Blvd. Los Angeles, CA. phone number h7139.

In 1924 Rudolph Valentino was listed in the L.A. City Directory as a photo player, Wedgewood Place, Los Angeles, Ca. Phone number h6776.

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2 Feb 1926

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22 Apr 1982 – Valentino Shirt Sells in London for $673.00

A cream-colored silk shirt worn by screen idol Rudolph Valentino in his last movie, “Son of the Sheik,” was sold for $673 at Christie’s auction house in London on Tuesday. The trimmed shirt was among the memorabilia in a sale of clothing and relics belonging to stars of stage and screen. The shirt was bought by Ray Jackson, manager of a British magician known as “Zee” who intends to use it in his act. “He is doing a Valentino number and particularly wanted the shirt. He told me to pay up to 5,000 pounds ($8,850) so I didn’t do too badly,” Jackson told reporters. A Valentino ribbed silk sash also worn in “Son of the Sheik” was sold to an unidentified Englishwoman for $974 The film was made in 1926, the year of the actor’s death at age 31.  The woman also purchased a black velvet casket belonging to Valentino and five letters written by the cult figure to Maria Elliot, British founder of the Rudolph Valentino Association. The 65 lots, originally owned by Miss Elliot, were bequeathed after her death to an Italian countess who in turn left them to the seller, an unidentified Englishman.

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1918 & 1922 – Hotel del Coronado

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In February 1888, the Hotel del Coronado, brought luxury on a scale that could only be appreciated in Southern California with its warm and sunny climate.  This Victorian style all wood material hotel and a ocean backdrop, held many firsts with the introduction of electricity and the first outdoor Christmas Tree.  This hotel had 399 rooms, with tennis courts, yacht club, Olympic sized saltwater swimming pool. The hotel played host to the very rich and famous Lillie Langtry, Prince of Wales, Douglas Fairbanks, Charlie Chaplain, Mae Murray, Tom Mix, Gloria Swanson, Rudolph Valentino and many others past and present.  The hotel was becoming famous as a film location in many silent films: Princess Virtue (1917), Married Virgin (1918), Beyond the Rocks (1922), My Husband’s Wives (1924), Flying Fleet (1929) and many others.

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In 1918, Rudolph Valentino, Kathleen Kirkham, Edward Jobson starred in an independently produced movie directed by obscure neophyte Joel Maxwell. In 1920, this movie was in limited release by Fidelity Pictures with the title “Frivolous Wives”.   During his time filming at the Hotel del Coronado, Valentino was deemed the hotels most popular guest. A favorite past time for single and married ladies was to lookout for where their movie star hero might be located on the hotel’s property. During each day, from the hotel’s ocean front veranda ladies were his most enthusiastic and appreciative audience. This was shown by a continued and hearty applause whenever they could grab a glimpse of their idol. During his time on set, Valentino took his acting role seriously. by isolating himself in order to prepare for the next day’s filming.  Due to his immense popularity, there were many times he was called upon to dine with other famous guests or persons of influence.  Although he would love to decline the many invitations he received it was understood as a rising film star, he could not afford to offend his fans and the various movie producers so he took it all in stride. However, truth be told Valentino did enjoy his hotel stay, whether it was fine dining in luxurious surroundings, motoring over scenic roads, a game of tennis, or enjoying a cold swim. Valentino truly loved his time at the hotel, that he came back a couple of years later to make another memorable film in 1922 Beyond the Rocks with Gloria Swanson. The hotel became famous as a vacation playground where Hollywood’s elite would come down for vacation stays.

Here is a YouTube 6.41 clip of Rudolph Valentino near the Hotel del Coronado.

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1915-1962 The Barbara Worth Hotel, El Centro, CA

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On 8 May 1915, the 4 story Barbara Worth hotel was open and located on the corner of seventh and main street in El Centro, CA.  This hotel was built at a cost at a cost of $300,000. In 1917, it was expanded at an additional cost of $125,000 adding 42 luxury suites in a Spanish style design keeping with the current architecture.  A patio and a fountain designed by Felix Peano were added from a quote in the novel “the desert waited, silent hot, and fierce in its desolation.  Holding its treasures under the seal of death against the coming of the strong ones”.

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This hotel was named after a fictional character in a novel titled “The Winning of Barbara Worth” by writer Harold Bell Wright. The author dedicated the book to his friend W.P. Holt who returned the compliment and built the hotel. In 1926, Samuel Goldwin made a movie based on the novel that starred Ronald Coleman and Vilma Banky. The hotel has a spacious lobby and an artistic dining room with 4-star quality cuisine. Sixty feet below the oceans level in the heart of El Centro the building is a gem of old Spain that keeps alive the traditional hospitality.

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Over the years, this hotel has suffered from allot of negative press. For example, 23 Jun 1915, the hotel collapsed in complete ruins from an earthquake. On 9 May 1916, the hotel’s manager shot and killed himself. His suicide note read “life became too lonely for him to live longer”.  Some of the more famous guests were Natacha Rambova and Rudolph Valentino. In May 1922, while enroute, to Mexicali, Mexico to get married, both famous movie stars and other members of their first wedding party stayed there for two days enroute to Mexicali, Mexico.   In 1962, the hotel burned down by a fire.

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1919 – Rambova Costume Design

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The costume designer is Natacha Rambova featuring one of her early designs and worn by Gloria Swanson in “Don’t Change Your Husband”.

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24 Jun 1973- Valentino not Dolls for this former child star

The memories for a former silent film movie child star are strong and one in particular is Rudolph Valentino was a frequent dinner guest.  The uncle of Thelma Daniels was atage actor and when he got into movies he would take a six year old Thelma along for dancing and singing lessons.  She started out in small minor rolls and grew from there. A semi-regular in the “Our Gang” reel comedies she played the snooty rich girl.  Also, she starred in several Marx Brothers movies where she played the blonde that Harpo would always chase. Rudy would always come over to her uncles around dinner time on the pretense of teaching her to dance. He was very continental and charming to a little girl who idolized him.  When he died it was a sad moment that I have never forgotten.

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1926 – Typical Movie Set Day

Director George Melford, Rudolph Valentino, Agnes Ayres breakfasted with the rest of the company in the largest tent and then the director looked over his movie script planning the day’s work while the two principals Rudolph Valentino and Agnes Ayres put on their make-up and colorful costumes.  Everything went like clock-work the first day of shooting.  On the first day of work, it was discovered a box of stirrups which had been made up for the horsemen were too weak and many of them were broken. To avoid any hold-up technical director Rudolph Bylek and property maker F.S. Madigan, labored all night, in a blacksmith shop in a nearby village making stirrups of iron framework. After breakfast if the fog still obscured the sun and there was a little light time to waste, there was a rush for the mailbox.  Those who were fortunate enough to receive mail, read the news to all who were anxious to hear a word from home and studio.  Some wrote letters, others amused themselves in a hundred various ways about the camp.  Of course, there was always camp sprites and in this case, two little extra girls, clad in overalls when not in costumes, who kept up a continual round of mischief and practical jokes received admonitions from the director every day to no avail.  Evelyn Francisco and Buddy Weller were the mischievous ones in camp, but their mischief was highly enjoyed by all and when things began to look dull they would see all the more opportunity to liven the situation with innocent fun.  The lunch mess-bell meant another break for camp. If scenes were being taken out on the sand several hundred yards from the camp, “Uncle” George called lunch and the Arab horsemen made the best charge of the day as they broke in disordered confusion in a rapid sprint in the camp.  The samegood appetites prevailed as at breakfast.  There was always a “clean house” in the mess tent after two rounds of lunches had been consumed.  Those among the party who were talented in a musical way, generally got in at the first call, and while the second mess was being served, gathered around in a circle with their instruments and rendered a few selections. Billy Marshall, the cameraman had learned to blow a saxophone with the same perfection with which he operates a camera. Of course, “Speed” Hansen, the minstrel of the Melford Troupe was there was his guitar or banjo and when not playing Arab he was playing one of those instruments.  Others had brought violins, mandolins, and other stringed pieces and everyone with an instrument and the talent to play it, joint the off=stage orchestra.  This is all a typical day on a movie set but untypical it truly is.

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1923 – Thomas Meighan Recipe

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Thomas Meighan was a silent film actor, patriotic Irishman, and a extraordinary cook loved sharing recipes with others as well as enjoying home cooked meals versus dining out like other movie stars of the day did.  In March 1923, Douglas Gerrard, in need of help bailing his friend and fellow actor Rudolph Valentino out of jail for bigamy, called up a fellow Irishman named Dan O’Brien who happened to be with Meighan at the time. Meighan barely knew Valentino, but put up a large chunk of the bail money with the help of June Mathis and George Melford, Rudolph Valentino was eventually freed on bail. Valentino never forgot the kind gesture of those who came to his defense when no one else would help in his time of need.  They remained friends for the rest of Valentino’s life.

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17 Feb 1926

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16 Feb 1926

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15 Feb 1926 – Natacha Gives Fashion Advice a Chance

In the first place, I feel no need to apologize to humanity at large for making women’s clothes one of the major interests of my life.  Instead, I believe, that the person who tries to lead women into cultivating beauty of color is doing as much for the world as any philosopher who ever tripped over the thong of his sandal.  The student of dress, it seems to me helps women to polish the facets of their personalities, besides garnishing the urban scenery enough to make our cities most endurable.  The truth of the matter is clothes are a creative. Women for some strange reason react mentally and spiritually to the fabric they place over their skins.  It is the nature of women to try to live up or down to her clothes.  Put a tired, kitchen-worn housewife into a perfect evening dress, groom her to a match, and watch her evolve a new personality in less time that it would take a brisk genie to crawl out of a bottle.  Outside of the homes for mental cripples, there probably isn’t a woman in the compass of all the seven seas who doesn’t become more gracious and show a brighter mental luster when under the influences of a satisfactory gown.  The great French shops are coming to specialize more and more in certain types of design, regardless of the aimless winds of style.  Lanvin, for instance concentrates on long-skirted dresses of the 18th century mode on things for a woman who looks best against a background of porcelain shepardesses and tapestried views of idyllic gardens. Poiret likes to create gowns for the sim-tropical woman the sort who look as if she had a breath of Chinese incense in her soul, or had spent her last incarnation dustings jade flowers in a temple of Ceylon. Jenny’s special delight is making tight-bodice and full skirted gowns for the whipped cream variety of jejune file.  The wise Parisians buys the same type of clothes year after year from the same designer, conforming to style in details but never in principle.  Thus, the first thing that an American should do who wishes to be well-dressed is to turn to someone who can help.  A woman who belongs to the petite doll-like species should never wander away from a childish outline. Her dresses should fall either in straight lines or in the fluffiness of floating tulle. She should be careful to keep away from dresses that are draped.  Gowns that look as if a bolt of material had been thrown gracefully over the shoulder of the wearer belong solely to the blood relations of the Statue of Liberty. The small woman who wears them succeeds in resembling a dressed up pop bottle. She should pin her allegiance to sport clothes, straight simple little daytime frocks and to the afternoon and evening owns that billow like clouds on a windy day.  Incidentally, the petite Dresden shepherdess is one of the very few who can wear very short skirts to the satisfaction of everyone concerned.  If a woman decides she is essentially sweet and feminine, she should rally around a standard of filmy materials and delicate pastel shades.  Floating panels and gossamer scarfs would help to give her the misty, ethereal quality that many men picture is their idealization of a woman. A person of this type should side-step severely tailored clothes.  The quiet rather conservative woman who has a dignified charm and who wishes her intellect to be taken seriously should wear long and graceful looking simple gowns. Soft satins heavy crepe and soft wools make the best backdrops for poise and dignity and the authority of an assured position. Next comes the transplanted orchid type girl the sort that for want of a better word “exotic” artsy and burns incense in her boudoir.  She has a dash of the orient in her, and likewise, runs riot among embroidered phoenixes from China, stiffed-necked lotuses from the Nile and brightly figurines that ride in endless procession around the borders of ancient Persian manuscripts.  The woman needs to truly look at herself in a mirror and the picture tells if the shoulders are too broad, the woman who is examining herself should go at once to her closet and snip off every silk chrysanthemum that might be reposing above an armhole. Then raising her arm to the ceiling she should vow never again to buy a gown with a broad bateau neckline, confining herself exclusively to a v-neck or to such rounded incisions as terminate a long way from the shoulders.  One point to remember is that the design on a gown should always be placed so as to draw the eye to one’s best lines and away from points that can’t stand publicity.  Let’s talk about cheap stores that sell cheap gowns made out of boisterously patterned silk or trimmed with everything left over from Valentine’s Day. Therefore the girl who cannot afford expensive dresses should buy her clothes ready-made. She should select two or three designs that are most flattering to her figure and buy some good material from a reliable department store and have it made up by a neighborhood dressmaker.  Good material whether silk or wool doesn’t stretch or sag or grown shiney after it acquires many service stripes. Besides, it can always be repurposed and used again when the wearer grows tired of this present design.  In the end, regardless of how you see yourself take pride in your appearance.  Do your homework on what materials and designs best suit you and your budget.
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14 Feb 1936 – Rod & Vilma Perfect Valentines Marriage

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13 Feb 1923 – New Hopes

Having finally despaired of getting Griffith to direct “Ben Hur” the Goldwyn Company has given the big job to Marshall Neilan.  They hope to have Valentino to appear as Ben Hur.

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The above is a snip of Natacha Rambova’s NYC Phone number.

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1922 – There is still hope..

You know that every extra comprising that large mob hopes some day to attract the attention of the director and as in a fairy tale, win fame and wealth as a Valentino or in the case of many older men a Theodore Roberts.  So, it goes, once in a while, as in the instance of Valentino himself, one of them does step out from the ranks.  And that isolated instance feeds the hopes in the thousands of starved breasts. Extras seem to us symbolic of the human race, so hopeful, so brave in their individual ways, so utterly futile generally so full of dreams of the day their opportunity will come.

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