Posts Tagged With: June Mathis

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Aug 2025 – 98th Annual Valentino Memorial Service Review

On every 23 August, 1210 hours, the Valentino Community comes together as one, in order to pay their solemn respects, in tribute to a great silent film actor, who still garners admirers and attention, in the 21st Century.

This year’s tribute program, was even more impressive than in years past. From the audio and visual tributes to the speakers, music selections, singing, to most of all a memorable salute to our beloved Donna Hill, everything was done reverently and beautifully.

There was something poignant about knowing how much of a compassionate person Donna Hill was. While I did not personally know her. Everyone within the Valentino community, felt as though she was a friend, someone they could go to for questions about Valentino. Her legacy will be remembered for years to come.

The music selection and the vocal talent of Ms. Katy Jane Harvey was once again, superb. I thoroughly enjoyed listening to my favourite “Ave Maria”.🎶🎤🎧🎼

It’s always sad when the Memorial Service ends🥲. But next year, I will be there physically to embrace the memories and see familiar faces once again.

One more thing, a big thank😇you to Tracy Terhune and Zachary Jaydon.✌️

Until next year. 😍🎥🎞️🪦

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1975 – The Legend of Valentino TV Movie

I recently came across a made for television “movie” that I had not seen before and thought I would watch it and provide a review.  This is a heavily fictionized story of silent film actor Rudolph Valentino, and Metro Pictures screen writer June Mathis.  June Mathis is finishing the script for “The Four Horsemen” and Valentino was caught robbing her home. It was then, she realized the potential this young man had to become a great actor.  Through her mentorship June guides her discovery into becoming one of the screens most gifted actors of his time.

The movie’s casting players were all wrong for the roles they played. For example, Franco Nero was a bad choice for the starring role in playing Valentino. Both his look, mannerisms and speech are over dramatic and exaggerated. Susanne Pleshette’s look for the movie was too glamourous and nothing like June Mathis. While she was semi-believable the make-up artists and wardrobe needed to downplay her appearance into a more semblance of what June Mathis might have looked like. Both Yvette Mimieux as Natacha Rambova and Alicia Bond as Nazimova are not even close to the original stars.

I read the original reviews of this made for television trash and I agree this is one that should have never been made a complete waste of both time and money.

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10 Feb 1927 – Hollywood Says..

Without a Rudolph Valentino it is doubtful if Mr. Zukor could have grossed such enormous sums on those pictures. Plus the insurance money certainly helped out now didn’t it.

It was the passionate mastery of Valentino that brought him to such eminence.

The lamented Valentino had this magnetism in superabundant quality.

Without a Famous Players- Laskey Corporation with its vast facilities and ample resources it is highly doubtful if Valentino could have risen to international eminence in such a brief space of time.

It has been almost a year now since Rudolph Valentino probably the greatest personality ever brought forth by the motion picture, has passed on and yet how rarely his name is recalled in that forgetful world we call Hollywood.

It was primarily June Mathis, with the courage of a visionary, who assumed a new perspective on romance in the silent drama and who had the courage to depict a latin as a lover rather than a villian. Before the advent of Valentino, the status of latin in a silent drama was not exactly complimentary. They were always cast as despicable characters, evil plotters lacking moral finesse, philanderers, roustabouts, black-hands and such.

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26 May 1929 – Mystics Rule Hollywood

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The lines are forming at the right before the séance chambers of Hollywood soothsayers.  Hollywood elite do not advertise going to the occult in order to see what the fates have in store. Norma Talmadge introduced noted psychic Dareos to the film colony. foretold of Chaplin’s numerous marital troubles and promised Mae Murray she would have a baby by husband noted fake Prince M’Divani. Soothsaying has always thrived in Hollywood and now its faring better than ever before.  Dareos makes such a good living that he is now both well fed and well-dressed living in a large home in Ocean Park. Some players will not sign new movie contracts without consulting their favourite palmist, card reader or spirit guide.  Astute producers will not begin new pictures unless their trusted astrologist tells them when the stars are favorably disposed.  From ping-pong to mysterious seances, crystal gazing, numerology, phrenology and palmistry, the film colony goes into its anxious attempts to peer into the uncertain tomorrow.  Louise Fazenda introduced numerology as a fad and for several years was all the rage.  Phrenology was a favourite of Wally Reid, Eugene O’Brien, and Tom Mix and seances had its time. The beautiful Laurel Canyon home of the late Rudolph Valentino was a setting for many a search into the hereafter.  June Mathis and her mother, Rudolph Valentino, Natacha Rambova all devoutly believed in their seances. They usually met alone since communicating with the other world was not just a passing fancy with them as it was with the rest of Hollywood. Indeed, since Valentino’s death Natacha often declares to the news reporters she is in close touch with Rudy in the spiritual realm. The Ouija Board came to town and many movie people sat for hours over it.  However, movie stars that seek advice from these so-called mystics, soothsayers, or psychics who may or not be correct. On the other side of the coin, these psychics are living just as good as the people who pay them.

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23 Aug 2022 – 95 Years of Remembering Rudolph Valentino

What a day to remember a wonderful silent film actor we still recall with love and reverence Rudolph Valentino. I virtually attended the Annual Memorial Service, Hollywood Forever Cemetery, L.A. a time of watching with awe and respect of those that came together to watch and listen to the speakers who had a personal connection to Valentino, musicians, watch moving tributes and soak up an atmosphere of love. Time goes by quickly and it was time to see friends and familiar faces until next year.  I wanted to continue with remembering and watched a 1975 fictional movie titled “The Legend of Valentino” on Amazon Prime. This was an excellent tribute centered around June Mathis who was responsible for Rudy’s career. While the viewer must use their imagination watching it does provide something different and I recommend it you have some time check it out and hope you enjoy.  I finished my evening, of thinking about how many years later, many fans still find time to remember a wonderful actor. It’s been my honor to have met some absolutely wonderful and kind people who are genuine in their admiration. Years will go and life will evolve with fans coming and going. But never forget that Valentino was someone who wanted what we all do a world of kindness with respect for others.

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1922 – Studio Backlot Gossip

The Young Rajah,” Rodolph Valentino’s new Paramount picture which Philip E. Rosen is directing, has many fascinating situations and gives the athletic star a chance to show his metal. Wanda Hawley is the pretty leading woman and her co-star Rudolph Valentino is spending all his spare time lately with boxing gloves, fencing foils and a medicine ball—that is, whenever he isn’t riding horseback.

Mr. Rodolph Valentino is back at work on “The Young Rajah,” with Philip Rosen at the megaphone. The adaptation is by June Mathis. The story starts with a mysterious scene and works up to a dramatic climax which it would be hard to excel.

Baron James H. deRothschild, eldest son of the famous French family of financiers, was a guest at our West Coast Studio recently and under the escort of General Manager Victor H. Clarke, Paul Iribe, Fred Kley, Rodolph Valentino, and Adam Hull Shirk, inspected with keen insight and a ready comprehension the intricate W’orkings of the big plant where our pictures are made.

Sensational to the limit are said to be the scenes which Mr. Valentino does sword and cape play before the real fighting bulls. He was trained for the dangerous business by Rafael Palomar, famous Spanish matador, and became highly proficient in the art.

Rodolph goes to San Francisco May 5th to appear at the mammoth benefit to be given by the Mayor’s Citizen Committee to raise funds to help entertain the disabled veterans at the Convention June 26-30 of the Disabled American Veterans of the first World War. Silent Film Star Rodolph Valentino will be escorted by a squadron of cavalry and prominent officials to the hotel and will be royally welcomed.

When Valentino and Naldi were working before the camera, the entire personnel unconsciously drew around them and watched with awe the wonderful acting of this pair. Can you see Mr. Valentino doing a Spanish dance with Nita Naldi, and Lila Lee playing the beautiful Spanish wife? This production was directed by Fred Nihlo, the one and same man who directed “The Three Musketeers”-—that alone should be enough for any exhibitor to know, that together with this marvelous story, under the guiding hand of this capable director and with Rodolph, Nita Naldi and Lila Lee, it will do a record-breaking business at his box-office.

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Dec 1924 – June Mathis & Silvano Balboni Marriage

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December bride June Mathis, screen writer and Silvano Balboni cinematographer were married at the Mission of St. Cecilia, Riverside, California.

1570698511_5d9ef50f20315-thumb.jpgTheir whirlwind romance is an outstanding example of how two professionals seemed destined to meet and have their own happily ever after.  It started out as mutual admiration between the couple.  Silvano amazed at the personality of Miss Mathis and June was attracted to his dynamic looks.  Now they are looking forward to collaborating on future movie projects.

This happily married couple were married until June’s early demise in 1927.  Their last movie collaboration was “The Masked Woman”.  For this project, June Mathis wrote and directed, and her husband had to come in and finish what his wife started.

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This article is about Metro Studios where Rudolph Valentino worked on several of his most notable movies.  June Mathis was the head writer at Metro.

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19 Sep 1921 – Such is Fame!

June Mathis used to think that her name was known to everybody in these United States of America as a scenario writer. But she’s changed her mind. The other day a circular letter came to her house stating that a fine course in scenario writing was being offered by the extension division of the University of California, Los Angeles.  

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3 Aug 1924 – Rumors

All the worlds in Europe this summer. From Paris or London, Rome or Germany with its alluring shops are getting a good dose of filmland. June Mathis, Carmel Myers, and George Walsh are at the Claridge and when they gaily telephoned me the other day.  Telephone service like people is the same everywhere only I do think after this trip I shall feel inclined to apologize to the Los Angeles phones.  I used to think it was the worst in the world, but I have met London and Paris since then.  The only redeeming feature is in Paris it is only one arm that goes to sleep while you are waiting for the operator to wake up. The mouthpiece and receiver are like a one-piece bathing suit all together.  So, lunch at the Ritz Hotel with June Mathis after which we watched mannikins parade in several shops just to get a slant at the new styles.  When June passed up the filmy frocks which are no doubt putting the eyes out in Deauville now, and insisted that she is being a hard-working woman must have more practical attire, the inquisitive French girl, observant too interrupted with, “Ah Madame cannot be a regular working woman. She has such lovely jewels”. She no doubt had her eye on the lovely necklace watch June gave herself in Hollywood last Christmas.  I wanted to know whether the report from Hollywood that June Mathis married here to George Walsh was true.  Miss Mathis declared she was neither married nor engaged to George Walsh and that is that. So, let the rumor mill find something else to gossip about.  From my observation since June is in Paris, I would say George Walsh and other Americans who maybe interested in the talented lady there is a keen rival for her affections, and he is Italian and happens to be in the movie industry.  June met her new man in Rome, and he appears quite attentive.  Do I hear wedding bells in their future? Time will only tell.

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18 Apr 1921 – Triple Named Parrot Escapes From Film Studio

June Mathis, has a pet parrot, which boasts of three names is among the missing. The writer of the screen version of Metro’s —The Four Horsemen of the Apocalypse’ had as the constant companion of her leisure moments, the loquacious bird until a few mornings ago it took fright at a sudden noise and fluttered over Hollywond housetops and away. Anybody finding a parrot that answers to the names of “Metro, Polly or Laura’’ that is a stranger to profanity and bears a yellow mark on its green back, is asked to return it to Miss Mathis.

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21 Feb 1928 – Poor Mills

If allegations in litigation ore correct, Mrs. Millie Hawkes, New York, at 85 years, bobs and dyes her hair, has 50 pairs of shoes, five fur coats and is the mother of the late June Mathis,  Metro scenario writer. Mills is being sued for half of an estate of $50,000 under an undated will. Silvano Balboni, her son-in-law, says he is maintaining her in luxury and wants out.

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18 Feb 1919 – Here’s a Lesson for All Budding Scenario Writers

June Mathis, who heads the screen writing staff at the new Metro Studios, Hollywood, recently rejected a manuscript submitted to her by a budding Pennsylvania writer. She accompanied the returned motion picture story with the following note: “Your plot would be splendid If it weren’t for prohibition. Your villain is drunk every time he attempts any of his dirty work. I cannot imagine any man robbing a bank under the influence or wrecking a train while intoxicated by near beer, or abducting the ingenue as a result of looking on the grape juice while it was purple. “The jag, on the screen and off, is very much out of the fashion these days. Try to motivate your stories with something that has a real kick, but contains no alcohol. “P. S. —I might also add that Percy is not a good name for your hero. He fights with his bare hands; usually when they’re named Percy they don’t soil ’em that way.”

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25 Jan 1922 – Hollywood Invites Sarah Earnhardt to 10th Anniversary

Hollywood has invited Madame Sarah Earnhardt to attend the tenth anniversary of the birth of the feature motion picture. The following cablegram has been filed to the famous actress at her home in Paris: “We, as representatives of American motion picture art, invite you to visit America to be honor guest In nationwide celebration of tenth birthday of feature motion picture. This invitation is in recogniton of tact that you were frst as you have been greatest artist to lend your genius to establish motion picture as art. “Your example ten years ago in creating ‘Queen Elizabeth,’ first feature picture, gave this new art impetus which has carried it it Us position’ as most important entertainment of world. Your appearance in ‘Queen Elizabeth’was inspiration to motion pictures as your appearance on speaking stage always has been inspiration to drama.” The cablegram bore the following signatures of Hollywood Elite: William DeMille. chairman; Rex Ingram, Wallace Reid. Mary Pickford, Gloria Swanson, Anita Stewart, George Melford, Douglas Fairbanks, Agnes Ayres, Guy Bates Post, William S. Hart, Penrhyn Stanlaws, Maurice Tourneur, Elinor Glyn, Betty Compact;, Norman Talmadge, Dorothy Dalton, .William D. Taylor, Constance Talmadge, Jack Holt, Theodore Kosloft, Douglas Mac Lean, Clayton Hamilton, Mary Miles Minter, Clara Beranger, Bebe Daniels, Buster Keaton, May McAvoy, Constance Binney, * Pauline Frederick, Theodore Roberts, John M. Stahl, Thomas Meighan, Charles Chaplin, Rudolph Valentino, Richard Walton, Tully, and June Mathis.

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11 Jan 1909 – June Plays Part

June Mathis plays the leading woman’s part with charm. The supporting company is excellent, and the scenic climax of the third act, when the stage is set to represent the deck of a yacht in a wild gale is a masterpiece.

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24 Dec 1918 – A busy girl

June Mathis, head of Metro’s scenario department, has hung up a record for other scenarists to shoot at during her 10 weeks in California at Metro’s Hollywood studios, where she migrated Irom New York. In two months and a half Miss Mathis has completed three continuities, one of seven reels and the other five-part program pictures; titled six productions for four different stars; imparted the “feminine touch” to two pictures in course of production and gone through a mass of bocks and original stories is head of her department. She will do far in her career.

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23 Dec 1924 – Natacha sends June on her way

Hollywood tongues have been wagging over the newest sensation of studio circles.  What will be the result of the ruption between Mrs. Valentino and June Mathis? For the time being “Rudy” has bowed to his imperious wife and let his ablest friend and sponsor go her way. It was Miss Mathis who started Valentino on the road to opulence and fame. She picked him for the lead for “The Four Horsemen” she saw an opportunity and it paid off in a big way.  Mrs. Valentino who wrote “The Scarlet Power” saw what changes Miss Mathis had made in it, the grand smashup came. So “Cobra” was substituted and all the grand vestments and shining armour for the Rambova story were packed away.  Cost of the switch runs into the hundres of thousands, but the wife, who in other matters also laid down the law, is triumphant.  No one concerned will talk, but Valentino retains his admiration for Miss Mathis. But only from a safe distance.

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18 Nov 1919- No Tricks for Her

What will you do next?” asked June Mathis of Mme. Nazimova. Narimova has just completed the filming of “Stronger Than Death’” from an I. A. H. Wylie novel of India. She laughed. “That sounds as though you expected me to stand on my head or turn a handspring,” she said.

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5 Oct 1919 – Viola Dane Cuts Off Curls for Art’s Sake

Viola Dane sacrificed her beautiful chestnut curls in the cause for art when she undertook the stellar role in Tile Microbe,” the appealing Metro drama picture by writer June Mathis from Henry Altimus’ Alnslee’s Magazine story in which the little star will be seen at the Hose theater today. Miss Dane’s ringlets were much in evidence in “Satan Junior” and “Blue Jeans,” but they had no place in ‘The Microbe” so Viola just made a little wry smile of regret and snipped them off.  Some of the early incidents in her” newest photoplay called for Miss Dane to appear in Troy’s clothing, wearing a cap. Hence the bobbed hair. But the beauty of it is that the tiny star is even cuter, in the opinion of her director, Henry Otto, than she was when her curls fell over her shoulders.

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1 Sep 1919 – What’s Difference Between Studio and Insane Asylum?

June Mathis, heart of the Metro scenario department and her secretary, Florence Heim were most amused hy the actions and unties of the crowd of actors on the setting where Viola Dana, in Not Married,” was escaping from a hotel fire actors were guests at the hotel aid, dressed in pajamas, nighties or kimonos, rushed madly back and forth as tlie smoke poured nut of the building. “What propounced Miss Mathis, is the diference between a motion picture studio and an insane asylum?” “Well.” said her secretary, “you can go out of a studio and not in. You can go into an insane asylum and not out.” “Right.” said Miss Mathis.

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21 Aug 1925 – June Mathis & Silvano Balboni

On the set at United Studios: There’s June Mathis and Rex Ingram responsible for the making of “The Four Horsemen” into one of the greatest movies ever produced. June is now supervising filming of her own production for First National called “Viennese Medley.” A new director is directing through a huge megaphone. He is Kurt Rehfeld. Kurt was Rex Ingram’s assistant. Miss Mathis gave him this chance. Seated behind Rehfeld watching the action are Miss Mathis and her husband, Silvano Balboni. While Conway Tearle and May Allison do a bit of Viennese romancing before the camera, I reflect on the fact that all the movie Romeo-and-Julieting isn’t done “for the benefit of cinema.” There’s the case of June and Silvano. I knew Balboni when he was making “Shifting Sans,” a movie with Peggy Hyland. It was filmed in the Libyan desert in North Africa j and Balboni “shot” the most stirring desert riding stuff ever seen in a movie. Returning to America, Balboni met June Mathis and there was a mutual palpitation of hearts. “Bal” was amazed at the vivid vital personality of Miss Mathis. Silvano’s Byronic head attracted the dynamic authoress executive. They were married and today in Hollywood are an outstanding example of professional and martial felicity. They are working together now to make Miss Mathis initial production “on her own” the biggest thing yet done

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19 Jul 1921 – Film Folks Make Plea in Church for Tolerance

Asking for tolerance of a growing industry, and for aid rather than discouragement in a fight to raise the standard of motion pictures, half a dozen prominent figures in the film world addresses a large audience last night at Immanuel Presbyterian church hero. “We ask that intelligent censorship only be permitted,” declared Charles F. Eyton. general manager of the Famous Players-Lasky corporation. “Censorship in the hands of fanatics will ruin the movie industry.” Other speakers included Reginald Barker, Bert Lytell, Kathleen Williams, June Mathis and Rev. Dr. C. B. Winbigler.

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31 Aug 1921 – BEAUTY BANS WAVES FOR “FOUR HORSEMEN”

From the waves to the field of dramatic acting. Virginia Warwick, one of the famous Mack Sennett Bathing Beauties, deserted the lure of the swimming tank and the sandy beach and appears in one of the stellar roles in “The Four Horsemen of the Apocalypse,” a Rex Ingram production for Metro, coming Saturday matinee for limited engagement at Loew’s State, with presentations at 2:15 and 8:15 o’clock thereafter. Miss Warwick in her portrayal of Chichi, the sister of the hero in this screen version by June Mathis, of the novel of Vicente Blasco Ibanez, gives to the Spanish-American beauty of the story that wealth of impulsive girlishness which one imagines such a character should possess. This former water nymph is from Missouri and came to California from St. Louis some two years ago. She was still attending high’school, being only slightly more than 15 years old —when in company with a theatrical friend she paid a visit to the Mack Sennett school of bathing beauties. Mack Sennett met her and for eighteen months her charm and beauty formed one of that galaxy of reasons why the beach of California is so popular with the motion picture fans. It was no accident or lucky chance that landed Virginia Warwick in “The Four Horsemen.” “Mr. Ingram didn’t happen to see me wandering about the hotel corridors or behold me dancing in a Los Angeles theater,” Miss Warwick explained. “I knew Mr. Ingram and had been looking for an opportunity to break into dramatic work. Director Ingram is a stickler for types and as I happened to fit his conception of Chichi, the sister of the hero in ’The Four Horsemen,’ I got the job.”

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31 Jan 1924 – Writer Leaves for Europe

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16 May 1919 – Theater Notes

A Russian star, a French director, an American scenario writer and Italian camera man and a Chinese story are the chief factors in the colossal Nazimova production, “The Red Lantern,” starring Nazimova herself, which was produced in this city at a cost of over a quarter of a million dollars and which will be shown at the California. Nazimova is a daughter of Russia; her director, M, Albert Capellani, is French —for a number of years the most noted of all cinema directors in Paris, with Pathe; June Mathis, gifted American woman writer, prepared the scenario; camera man, Eugene Gaudio, is Italian, and the story, from the novel by Edith Wherry, is laid in an Oriental setting.

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28 Jul 1927

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26 Jul 1927 – June Mathis Dies in Theatre

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June Mathis as an extra on set of The Four Horsemen.

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17 Aug 1909 – Local Actress Gaining Favor

Word has just reached Salt Lake that June Mathis, known to nearly all old residents for her wonderful ability as an amateur actress, has become leading woman for the Shuberts in the Eastern Production of “Going Some” the Paul Armstrong-Rex Beach play, which carried New York by storm during the close of last season.  Miss Mathis will be remembered for her trips through Salt Lake with Ezra Kendall in an number of plays, but especially for her pleasing work as Polly in “Brewsters Millions” in which, she starred for two seasons.  Miss Mathis is with company No 1 in “Going Some” and will not come West this year. Rehearsals have been finished, and the play will open in Atlantic City for a week, when it will go direct to Chicago for an indefinite booking.  Later, the company will visit the larger cities of the East.  The charming actress has been steadily climbing toward the top of her profession during the last few years and now, less than twenty-two years of age, she has reached a station acquired by but few women the stage no matter of how varied an experience. but in spite of her successes, Miss Mathis is still June Mathis, unassuming, jolly and charming.  Now that she has become the leading woman for the Shuberts, she will not be seen by her home people for a year or two, at the least, but many friends will wish her continued success. W.D. Mathis and Miss Laura Mathis of Salt Lake are the father and sister of the rising young actress, and are overjoyed at her latest triumph.

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Aug 1922 – Not Quite A Hero

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In the heat of discussion about Rudolph Valentino in which everyone who ever goes to the movies seems to be taking part what the man is really like is almost lost sight of in the maze of conjecture, misconception, and exaggeration spread about him. Here he is as he really is. Once upon a time, there was a young man who was not a perfect specimen of American manhood. He was not remarkably dauntless not brave. His appearance did not suggest shining virtue nor impeccable nobility. In spite of the fact that he lacked all the glorious qualities of a real movie hero, Rudolph Valentino went into the movies. The casting director whom he interviewed decided he wasn’t the sort of man who would appeal to an American girl. He did not seem fitted to jump off cliffs, rescue fair maidens, or register high-minded devotion in the close-ups. They admitted however, that he could dance and that he was a good type for what is recognized about the studios, and nowhere else as a “society villain” But they forgot to find out whether or not he could act. Sometimes big movie organizations are careless about such things. I am not, going to tell you about “How One Young Man Made Good” I don’t need to. You probably saw “The Four Horsemen of the Apocalypse” But I am going to set forth my theory of his phenomenal rise to fame, the secret of his success. It is this? He does not look like your husband. He is not in the least like your brother. He does not resemble the man you mother thinks you should marry. He is not the nice boy who takes you to all the high school dances. And so women go to see him in motion pictures because he typifies romance. Out in Hollywood, the men who know him like him. The women who know him but they won’t tell. As for Valentino himself, he doesn’t talk about it. If you happen to be one of those irate fans who have been disgusted with the interviews in which his opinions on love and the ladies have been set forth at wearying length, please accept my word for it that such statements which he really made were wrung from him and that some of them were as new and strange to him when he saw them on the printed page. If he ever saw them as they were to you. Certainly, I found him shy on all such subjects; he honestly does not want to be considered a matinee idol.   You cannot blame him, for where are the matinee idols of yesteryear? I have tried to talk to Valentino about love, women and matrimony. Every time, I broached the subjects he side-stepped them. But let us hasten on to the interview. I met Mr. Valentino on the Lasky lot. With me was the perfect Valentino fan when she saw him come up to us both she said “please introduce me by my maiden name and don’t say anything about my husband and baby”. Whereupon she removed her wedding ring, and slipped it into her handbag. There’s a little bit of bad in every good little girl. Mr. Valentino suggested luncheon and escorted us to his motor. “It needs cleaning” he explained “but it runs beautifully”. In half a minute we were a half mile away. When Mr. Valentino made his entrance into the restaurant every woman in sight gave a moan of joy and all the women tourists were oh so glad they had come to California. Mr. Valentino did not look to the left or the right but at the menu card. Our luncheon was the result of a promise. When I saw the preview of “The Four Horsemen” in New York, June Mathis who wrote the scenario came up to me, “Keep an eye on my Julio. I picked him myself and, if he isn’t one of the coming favorites I’ll eat that film”. After the picture, I saw June and congratulated her. So there I became the perfect fan. He found out the perfect fan loved to dance and so he talked about dancing and orchestras and about the charm of sitting in a pleasant restaurant with agreeable and well-behaved persons all about you. He hates vulgarity and vulgar dancing. Then he turned to me and said June Mathis discovered me and gave me a part when life was not so easy. And now, she will write all my pictures. She is a capable, humorous and generous woman. I am eternally grateful to her. No one realizes how much she had to do with the success of “The Four Horsemen” she was on the set every day. She suggested a hundred small touches. And now she will supervise “Blood and Sand”. I am immensely glad because it is the first picture in which I am in the starring role. And I know that I can trust Miss Mathis advice and good judgement. Mr. Valentino was quite sincere. He is not half-hearted about his praise or his blame. Sometimes when it comes to blaming actors, actresses or directors, he refuses to be politic. Who says that the Italian’s are a suave race? But his greatest virtue is his loyalty to his friends. With all the feminine world accepting him as a romantic figure, he refuses to accept his role; his good qualities are commonplace. I said that he evaded discussing love, marriage and women. Yet, I discovered indirectly what sort of woman he does like.  During our conversation, he professed an admiration for only one type; he likes clever, sophisticated, amusing and capable women. He has no eyes for the beautiful and brainless. Although he probably won’t admit if he did. I think he rather likes em’ rather strong-minded. No power on earth can make him speak even tolerantly of his picture “The Sheik”. In vain, do you tell him the movie has made money, that brought him stardom, that it is one of the most popular pictures of the year. Mr. Valentino will simply reply the movie was a fatal error and hopes he will never appear in another picture like it. “What nonsense it was. I neither acted like an Englishman or an Oriental” I was obliged to play like an emotional Italian. It was all out of character. The Oriental is stolid and the Englishman prides himself on self-control. “When the picture came out, I received many letters and some were flattering. But the intelligent critics told me what they thought of my acting. They said that Ihat I had achieved a little success and that evidently I was content to take advantage of that success. Letters like that are not pleasant are they? I am not trying to please those who are easily pleased. I value the opinion of the intelligent critics. This maybe a blow to the Valentino fans, but he honestly dislikes silly letters. “Just now, I need honest criticism and good advice, I appreciate it. Again, Mr. Valentino seemed sincere. Success has made him sensitive and hypercritical of his own work. He is not vain but shrew and careful minded that he takes his popularity with large grains of salt. “Hollywood” said Valentino is a small town not physically but mentally”. A great deal has been said about the frivolous of the movie colony. All of us need honest recreation. We need to forget the studio when our work is finished. I like to dance and I like to go to restaurants with my friends. But I don’t like vulgarity in dancing and so-called wild times I have seen in the cafes in Los Angeles were rather childish and silly. Several years ago, New York had become a delightful and cosmopolitan city. Out here we have to still learn how to amuse ourselves. One cannot escape boredom merely by going out and spending allot of money. No reformer is needed to tell the better-class actors and actresses that they cannot enjoy themselves merely by going out and drinking too much. I am afraid, I have made Rudolph Valentino a serious young man. Most of the time he wears a mask, and he uses his charming manners as a sort of guard. He has no particular pose; he is a dignified and courteous gentleman and is witty in a sharp way. When he spoke of the conventional “happy ending” to movie stories the perfect Valentino fan hung on his words. “The happy ending” has come to be nothing but a rubber stamp. I think the public is tired of it. After all, only one love affair in a thousand ends happily. And an affair of that sort is too dull to be interesting. Romance doesn’t make men and women happy. Human beings are made happy by such things as success, food, a good home, pleasant friends. Romance is something that makes them more than just happy. A refutation of the Pollyanna philosophy. Love doesn’t make the world go round it makes it go sidewise, zigzag, up and down and backward.. In his attitude, toward his art, he reminds me of the adored Caruso. When Caruso made a sensational success in opera, the wise men said that he couldn’t stay a public favorite. Caruso remained a favorite until he died. Valentino and Caruso are much alike in their way of talking and speaking. Caruso was supposed to have a wicked voice whatever that means and Valentino is supposed to have wicked eyes. At heart, Valentino is the same as Caruso and one of the most interesting things about him is the violently contrasting opinions in the outbursts of feeling that his sensational success has caused. If you’ve been reading ‘What the Fans Think’ you know what I mean. I know of no one in pictures the mention of whose name will start so violent a discussion. Hazel Shelly told you, last month that he was vain, calculating, and upstage. She refused to meet him. Hazel is entitled to her opinion, but you missed the chance of your life. Years from now, you’re going to sit down and cry about it. Ethel Sands gave a good impression of him thoroughly honest and to my mind accurate. And now, having given my own appraisal, I wish to add the opinions of some of those who have worked for him. June Mathis “I have worked with Rudy a long time. I can assure you he is a nice boy. He has been the target of professional jealousy. He has kept his head and his temper. He is reasonable and not all temperamental. After finishing “Blood and Sand” Nita Naldi discussed Valentino. “When I came out here, I did not think he could act”. Now I apologize. He is a real actor and I suppose some of our love scenes will look pretty warm. The script called for them. Valentino was courteous and decent. Some actors and I have played with prominent ones like to spoil the scene by putting in little asides. Valentino does not. Said Lila Lee “Blood and Sand” was a real inspiration. Imagine Fred Niblo, Valentino, and June Mathis working on the same picture. Valentino sn’t a bit mean about wanting the star part. Mrs. Mathis “we are all fond of Rudy. I like an accomplished man. He speaks five languages and plays and sings beautifully. The perfect Valentino fan ended up the chorus “I would leave my husband for him but I am afraid I would annoy him.” Mr. Valentino is a wonderful relief he doesn’t flirt, he is quite sincere. By the time you read this you will have known for some weeks that Rudolph Valentino is married again. The lucky lady is Natacha Rambova alias Winifred Hudnut. Valentino’s opinions on his marriage are sound: “it will be the best thing in the world for me. I shall have a clever wife to advise and encourage me. I know that I shall be very happy we have the same friends and same tastes.” Both Natacha and Rudy will be the most charming couple in Hollywood. They have established their own intellectual circle, and they are far from the mad movie set. Is she jealous of his leading women? I don’t think so. She merely smiles as Valentino bows to his favorite heroine. It is easy for a woman to fall in love with her man, but it is hard for her to gain his respect and devotion and this Natacha Rambova alias Winifred Hudnut has done.

 

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1920 – June Mathis

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23 Apr 1957 – June Mathis

June Mathis the scenarist who discovered silent film star Rudolph Valentino, is buried next to him in Hollywood. She secretly arranged it that way.

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21 Feb 1928 – June Mathis Mother Bobs Hair at 85

If allegations in litigation are correct. Mrs. Millie Hawkes of New York at 85 bobs and dyes her hair, has 50 pairs of shoes and five fur coats.  She is the mother of the late June Mathis, scenario writer, and is suing for half of an estate of $50,000 under an undated will. Silvano Balboni, her son-in-law avers he is maintaining her in luxury. Mrs Hawkes says your never too old to continue looking your best.

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10 Sep 1935 – Balboni Back to Stay

Following the death of his wife June Mathis, five years ago. Silvano Balboni returned to his native Italy to produce films.  But he is back now to supervise the technical details of Edward Small’s picture “The Melody Lingers ON” which has an Italian locale, and he intends to remain. Balboni started photographing movies in 1910 – he is 40 now and later he directed several pictures here and in England. While working in London, he induced a young stock actor to try the films. The actor was Ronald Coleman, Miss Mathis was a noted scenarist and the discoverer of Rudolph Valentino.

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14 Apr 1928 – Silvano Balboni Will Get Estate of June Mathis

The entire $100,000 estate of the late June Mathis, prominent scenarist, will go to her husband, Silvano Balboni, motion picture director, under a decision filed today in Judge Crail’s court.  Balboni’s attorneys stated the director would care for Mrs. Millie Hawkes, 85 grandmother of Miss Mathis, who lost a life interest because she contested the will. Last year,  Mrs. Hawkins sued the director in court for $50,000. The director in-turn told the court she already lives in luxury with five fur coats and 50 shoes. Also, discovered during the contest that the will bore a printed dateline and was therefore, not entirely in Miss Mathis’ hand. ON this ground the will was declared void and the husband was made sole beneficiary.

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14 Jan 1922

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Feb 1924

June Mathis, Screen Writer and Producer sailed for Rome, Italy today to start work on the movie “Ben Hur”.

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“Rudolph Valentino was an artist whose place will be impossible to fill, just as it will be impossible to fill the empty place in our hearts, caused by his death. I am deeply grieved.” Silvano Balboni, husband of June Mathis

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Apr 1932 – My Strange Experiences at Valentino’s Grave

A movement is being launched in Hollywood to erect a new memorial to Rudolph Valentino. It will take the form of a sarcophagus mausoleum in which Valentino is to be entombed. According to current plans, the building will cost around $40,000. The chap who imparted this information to me did not know whether a fund existed to erect the mausoleum or whether the money would be obtained by popular subscription. A difference of opinion arose regarding the latter course of procedure. It was my contention that some difficulties would be encountered unless large individual amounts were subscribed. After all, Valentino has been dead 5 years and these are times of stringent financial difficulties. “Forty thousand is a mere drop in the bucket”, my friend informed me. “Four hundred thousand could be raised in a short time if necessary”. Quite apparently you haven’t followed the legend of Valentino. Even in death he remains the screen’s most popular male star. The idolatry accorded Garbo is the only approach to the tremendous tradition of Valentino. “Pilgrimages to his grave rival those of history. Five years? What are five years? It will take a generation to dim his shining star and at least another generation to eclipse it even partially. If the people behind the memorial ask the public to subscribe, they can have the money almost over-night. “Do you know that there are nearly a score of Valentino Associations whose memberships are pledged to keep his crypt ever beautiful with flowers? Do you know that no less than ten people daily appear at the offices of the Hollywood Cemetery to inquire specifically where they might find the Valentino burial place? These folks are the new pilgrims and their number multiplied many times by the regulars. Five years and don’t talk to me about five years. Go talk to Pete at the mausoleum. He will give you a story of the Valentino’s tradition that will, if I am not mistaken amaze you. It seemed like good advice. I found that Pete was the diminutive of Roger Peterson, a big blond Scandinavian from Minnesota. He is the attendant at the Hollywood Cemetery mausoleum where Valentino is buried. In many respects Pete belies the conception of what a cemetery attendant should be. He is not a taciturn unsmiling individual but rather a loquacious, pleasant chap as jovial as he is big. Very frankly, Pete was a revelation to me. The major part of his duties have to do with inquiries concerning Valentino. It is therefore, an authority on the film star. Visitors, genuinely interested in Valentino and they number thousands find Pete a sympathetic confidant. Unfortunately, he also has to deal with hysterical, sometimes unbalanced people who make a Roman holiday of their visits to Valentino’s crypt. His handling of each semi-psychopathic cases would do credit to a physician. Pete has kept a diary since he has been on the job at Hollywood Cemetery. Like all diary-keepers, he has not made entries every day. There are long stretches of blank pages when the diary was forgotten in the press of other duties or pleasures. Not all the dates are accurate to the exact day. Pete was careless about dates. The document, nonetheless, presents an intensely vivid picture which I have taken but few liberties in transcribing. There are several points of Pete’s story to which I have added facts. The reporting of contacts with individuals, however, is entirely his own. The first date that concerns us is;

7 Sep 1926 – Rudolph Valentino was laid to rest in the mausoleum at Hollywood Cemetery today. Crowds estimated by the newspapers to number in excess of 20,000 lined the sidewalks as his funeral cortege passed from church to cemetery. Nearly 5000 people surrounded the church while last services were held. The scenes here must have duplicated the public demonstrations in NY where Valentino died on 23 August. His church services were attended by all the great of filmdom, but only his brother Alberto and Pola Negri came to the cemetery to witness the sealing of his crypt. Miss Negri later collapsed and had to be helped from the mausoleum to her car. The tremendous amount and great beauty of Valentino’s floral offerings defy description. The cards bear loving messages from Mary Pickford, Charles Chaplin, Jack Dempsey, and Estelle Taylor, Bebe Daniels, Kathlyn Williams, Antonio Moreno, Buster Keaton, Reginald Denny, William Randolph Hearst, Marion Davies, James Rolph Jr, June Mathis, and others. Pola Negri’s blanket of flowers that read POLA, June Mathis had a wreath of roses on which was the name Julio. Julio was the name of the character in the “Four Horsemen of the Apocalypse”. It was in this role, written by June Mathis that Rudolph Valentino won undying fame. The crypt in which he now lies belonged to Miss Mathis. In the tier below lies her mother and step-father. The space next to Valentino lies Miss Mathis.

08 Sep 1926 – The public, denied admittance yesterday, are thronging in today to view Valentino’s burial place. Hundreds of people have passed down the corridors of the mausoleum to pay last respects to their screen idol. The crowd as an average had been well behaved, but a few hysterical women have prostrated themselves, crying aloud their love for “Rudy”. Such demonstrations are embarrassing to the cemetery authorities but it is difficult to know how to combat them.

09 Sep 1926 – More people and more demonstrations.

10 Sep 1926 – Still more people and a particularly violent fit of hysteria. It is a shame that sincere affection for a public figure such as Valentino must be besmirched by exhibitionists.

11 Sep 1926 – The souvenir hunters have been at work. They have torn buds and ribbons from the floral offerings until little remains of the magnificent wreaths. It will be well to keep constant watch for vandalism ghoulishness may be a better word.
Specific stories of certain of thousands of people who daily thronged the mausoleum are lacking in the early chapters of this account. Pete did not “take his pen in hand” to report contacts with individuals until a later date. Perhaps the more vastness of the multitudes who came to pay homage precluded “human interest” reporting. The daily total of thousands was reduced to hundreds as time wore on, but the hundreds remained faithful. Valentino Associations were formed in various sections of the country. The next item to beg inclusion here has to do with the auction sale of Valentino’s Estate. It began 14 Dec 1926, with the sale of some five thousand items of his personal possessions. These items ran from small trinkets to expensive pieces of furniture, paintings, and tapestry. The auctioneers valued his personal belongings at $25,000 they brought in $125,000. It was the trinkets and intrinsically valueless properties that sold for many times their worth. Single handkerchiefs brought bids of as much as $25.00. A pair of salt and pepper shakers were purchased by a man for $12.50. He was the manager of a hardware store that sold identical pepper and salt shakers for 75 cents. But the merchandise he sold so cheaply had not once belonged to Valentino. The auction sale of course, stimulated additional interest in Valentino’s burial place. The crowds that visited the mausoleum again increased, but in a few weeks they had returned to normal. The cemetery officials grew to expect hundred or more people daily. The number varied but little until the first anniversary of Valentino’s death. Then the crowds were swelled again. Joseph Scheneck, present of United Artists Studio was chairman of the first memorial committee. Rudolph Valentino had died at noon and exactly at noon, one year later, work ceased at all studios. The afternoon was devoted to memorial services at the Church of the Good Shepard, attended by everyone of consequence in Hollywood. That was 23 Aug 1927. A month later, came a weird occurrence.

30 Sep 1927 – A woman came to the mausoleum today with the wildest delusion yet. She claimed she was about to become a mother and Valentino was the father of her child. This thirteen months after his death. The woman asked for permission to have a cot placed before Rudy’s crypt where she might stay until her baby is born. She went up to the cemetery office, and somehow or the other they got rid of her.

10 Dec 1927 – Souvenir hunters are at work again. Noticed today they have been chipping away at the small statue on the pedestal in Valentino’s corridor. I don’t mind them taking flowers but why must they spoil a beautiful piece of statuary?
03 Feb 1928 – There is a whole hand gone from that statue now and a new other parts broken. I had better not catch anyone chipping it, but I can’t stay around all day. I have other work to do.

08 Mar 1928 – I heard a crash this morning. It was the marble statue. Someone must have knocked it down trying to chip off a souvenir. By the time I got there, not a soul was in sight, but the statue did not fall down by itself. I had put it away in the shed. It’s too bad, but I suppose I should be thankful that there is one less thing to watch.

01 Jun 1928 – The people you have to keep your eyes on are the ones that come in laughing and joking. I don’t believe this is the place for wise-cracking and I am beginning to be suspicious of those who do it. The ones who show proper respect for the dead are usually above suspicion. When they tiptoe quietly down the corridors, scarcely speaking above a whisper, I know they are all right. It’s the kidders that need watching. Probably one of them broke the marble statue.

03 Jun 1928 – I am sure I’m right about jokers. A fellow came in today and told me a joke. A few minutes later, I caught him trying to get away with a small potted plant. If people want souvenirs why don’t they ask me? I would be glad to let them have a flower when I know it means so much to them. Cut flowers have to be thrown away so soon anyway. There was a girl in yesterday who asked for a rose from Valentino’s crypt. She was from Chicago and was going back in a few days. She said her boss had visited the mausoleum last year and had brought back a rose. He gave a rose petal to every girl at the office the gift had been so greatly prized by the girls that this young lady had been made to promise she would attempt to get another rose. Of course, I have her several roses and a few beads from the wreaths a Valentino admirer had sent from the old country. When we found that people were destroying the wreaths Alberto Valentino gave them to me for safe keeping. He told me to give some of the beads to the folds that really loved Rodolph. There are thousands of small beads on each wreath, plenty to go around. If anyone is decent enough to ask for a souvenir, they are welcome. But I’m not going to have things stolen if I can help it.

23 Aug 1928 – It is the second anniversary of Valentino’s death. Memorial services are being held again and beautiful memorial services are being held again. You might believe that after two years the memory of this great star would have dimmed. I can’t see that it has. Of course, most of the curiosity seekers have forgotten, but his real admirers have remained faithful. There must have been between four and five hundred people here today.

24 Aug 1928 – I don’t know what I’m going to do with all of these flowers. George Ullman, Valentino’s former manager sent over a lot more today. He gets letters and telegrams from all over the world containing remittances for floral tributes. His secretary sees that everyone is represented by some blossoms. This she does with great care, as she holds it a high honor to serve the ones who loved Valentino. She personally selects the floral arrangements and spends hours helping me arrange them. That is, she arranges them and I help if I can. We had our usual group of hysterical women yesterday and today. I am becoming accustomed to women screaming and crying for their “Rudy”. But when men do it sort of gets me. There was a little foreigner in today, a Frenchman. He burst into tears and kissed the cold marble of Valentino’s crypt then turning he practically ran from the building.

15 Oct 1928 – I met Mrs. Coppola today. She is the mother of the baby named for Rudolph Valentino. Of course, being Italian, the name is spelled Rodolfo. The baby died at birth, 29 Sep and is in a crypt on the top tier of the Valentino corridor. The mother came today and stayed several hours reading her bible and praying. I wish I could do something to comfort her in her grief.

21 Nov 1928 – Mrs. Coppola happier today than I have ever seen her. I asked her why and she told me a strange story of Valentino coming to her last night talking to her. She said his spirit came to her house and knocked on the door. When she let him in, he told her that her baby was happy and not to grieve so much.

16 Jan 1929 – I have not written anything in my diary for some time. Mrs. Coppola and I have become great friends. She calls me “Mr. Pete”. She comes regularly at least five times a week and always brings flowers from her own garden. These she divides equally between her baby and Valentino. I found out today that she never saw the Valentino crypt on the screen. When he died, she sold her home in San Diego, and moved to Hollywood, taking a house within walking distance of the cemetery. She used to come over often, even before her baby died, but she came over so early in the morning or late at night that I missed seeing her. She tells me that she seen Valentino’s spirit occasionally in her dreams and frequently hears him walking about the house at night. She has met Valentino’s brother and sister who come often and once in a while they all pray together.
There is another woman who comes regularly once a week. She is always dressed in black and always brings flowers. Valentino’s crypt will never lack floral tributes as long as his relatives and Mrs. Coppola, the lady in black and the various Valentino organizations keep his memory alive. There is a group in London that has the cemetery florist deliver a basket of flowers every Saturday.

07 Mar 1929 – The lady in black is no longer a person of mystery. She told me a lot about herself today. She is very poor, which explains why she always wears the same black dress every week. A black and white hat and a long cape, reaching to her ankles, complete her costume. Her husband left her several years ago with a small child to support. She earns all she can by doing housework of the hardest sort. Valentino represents the only romance in her life. She went to the studio once to see him work, but was too bashful to ask for an introduction. She says, however, that he glanced her way and smiled while looking directly into her eyes. That moment she will treasure forever. A few weeks later, he left for New York, where he died. She failed in her endeavor to meet him while he lived and now she spends what time she can by his side in death. The flowers she brings she feels are a pitiful offering as compared to the gorgeous wreaths she sees by his crypt. She seems furtively to slip her few blossoms among the others as though she is ashamed of the house-grown tribute. I know of none more sincere.
3 Apr 1929 – My lady in black came today. She kissed the marble in front of Rudy’s crypt, as she always does, and her face was still pressed to the cold surface when Valentino’s brother came in. She must have recognized Valentino’s brother from his pictures, for she seemed paralyzed by embarrassment. She simply cowed in a corner as if to hide from him. I know she would like to meet Alberto, so I made a point of introducing them. When I told him how she came regularly to bring flowers, he thanked her graciously. I have never seen anyone so pleased.

8 Jun 1929 – My lady in black did not come this week or last. I miss seeing her and hope she is not ill. She cannot afford to be sick form what she told me.

23 Aug 1929 – Third anniversary of Valentino’s death. Again, the flowers are being received in tremendous quantities. Perhaps a few less than last year. All the regulars came except the lady in black, I am worried about her. Wish I knew where she lives. (Note I never heard from her again).

4 Oct 1929 – There must be a convention of spiritualists around here some somewhere. I have met more people who have talked of having seen Valentino’s spirit recently than I have since I have been with the mausoleum. They tell very convincing stories. I wonder what it is like to have the power to peer into the mystic realm of the dead. On an average, I like these folks who talk of spirit form. They are generally very quiet and well-mannered. Some are rather weirdly dressed, but there’s probably for effect.
16 Dec 1929 – We had a real spiritualistic manifestation today. A woman came in and introduced herself as a medium. She said she had spoken with Valentino upon numerous occasions, but he always disappeared before she could ask him everything she wished answered. She had, therefore, travelled from somewhere in New England that she might hold a séance by his crypt. Perhaps she wasn’t asking my permission, but I told her to go ahead. I really don’t care what people do just so they aren’t noisy and don’t steal or break anything. This woman started to go into a trance when something happened. IA series of knocks were actually heard from above the crypt. The medium ran around in circles, crying “Hear Hear’ He knocks. Rudy knocks. She behaved like an insane person. Others, attracted by her cries came running down the corridor. Sure enough, there was a tap, tap, tap to be heard from above. We investigated and found a large yellow-hammer had gotten into the attic of the mausoleum. How that bird had been able to get in remains a mystery to this day. But he was flying around crazily and the beating of his wings caused the tapping noise. The bird and the spiritualist left the cemetery about the same time. I don’t know which was the most crest fallen but neither returned.

21 Jan 1930 – Some people don’t realize when they are well off. A young lady came in today, who had quarreled with her husband over some silly trifle. The argument started when she informed him that Rudy would not have treated her as he was treating her. He replied that, if she did not like it, she could go live with Rudy. So she took his advice and left home. She spent all day crying by the Valentino crypt.

22 Jan 1930 – The same girl has been around all day again. She says she is going to get a job in the movies.

23 Jan 1930 – The girl did not show up today.

24 Jan 1930 – She did this morning when I came in, I found her asleep on the cold marble alongside Valentino’s crypt. She came around last night and finding the mausoleum closed, she climbed through the window. Apparently, she was attempting to follow her husband’s advice about living with Rudy. She was warned that if she tried the stunt again she would be liable to legal prosecution for unlawful entry. This isn’t the first time somebody has tried to spend the night in the mausoleum and it won’t be the last. Before closing up, we always look for people who might be hiding.

31 Jan 1930 – Heard today, that the girl who climbed into the mausoleum window had returned to her husband. He came to get her and take her back to the mid-west.

2 May 1930 – For more than a week, a very pretty young lady has been manufacturing her own souvenirs. Like the other girl who collected rose petals, she is from Chicago. These people from Chicago, seem to do allot of travelling. This particular young lady, has been bringing a large bunch of yellow roses on her daily visits. She puts them in a receptacle by the crypt and clips off the dying buds from previous contributions. These flowers she intends to take home as souvenirs from Valentino’s crypt. She put them there who has a better right to take them away.

14 Jul 1930 – I heard one of the strangest stories of my experience today. A middle-aged woman came in with an enormous bunch of lowers and made her way directly to the Valentino corridor. She seemed to know where she was going and I followed to offer her what assistance I could with her flowers. As she neared Valentino’s crypt I heard her cry “At last, Rudy, at last I have come. Your spirit has led me on, ever on, to view your final resting place. Rest, dear heart, rest” there was a lot more in the same vein. While she rested, she told me her story of how Valentino’s spirit had come to her as she lay ill on her hospital bed in a Southern city. Valentino whispered that she would get well immediately, but the must make a pilgrimage to his tomb before she could find happiness. The vision disappeared and she fell into a deep restful sleep. When she awoke she felt strong enough to leave the hospital. They discharged her two days later. As she needed funds for the trip to California, she sought an office position and obtained one as a secretary to a business executive. It was practically a case of love at first sight, and when the executive was called to Europe on business he proposed they take a trip for a honeymoon. The only cause of a rift is their first months of happiness is the vision of Valentino. Her husband scoffed at the vision calling it a hallucination of the sick room. But she was unable to dismiss it so easily. When they returned from Europe, she insisted on following the advice of her vision. Her insistence forced a separation and in a small car she set out for California narrowly escaping death in three separate accidents. Arriving in Hollywood she drove straight to the cemetery. She summed up her story by saying “Here I am at the end of my pilgrimage, exhausted but happy in the of my success. My task is done, I have kept faith. My plans for the future are not made but if I can find work, I hope to remain in California.

21 Jul 1930 – It has been a week since the lady with the vision came. She appeared again this afternoon with more flowers. She told me that she had obtained work in a studio and planned to settle here. She was assured she would find happiness promised to her by Valentino’s spirit.

31 Jul 1930 – A man has been haunting the mausoleum for the last two days. I wonder who he is.

2 Aug 1930 – The mystery man has been identified. He met his wife this morning who was none other than the vision lady. They talked for some time in a secluded corner and apparently patched up all their differences. He waited for his wife outside while she knelt by Valentino’s crypt to say a last good-bye. She kissed the marble, whispering “Farewell Rudy, dear heart, farewell”. She did not stay long. Smiling she followed her husband into the sunlight.

23 Aug 1930 – Fourth anniversary of Valentino’s death and a repetition of all others. Flowers a little less profuse, but no other change.

3 Sep 1930 – Among today’s visitors was a delightful little lady who informed me proudly she was 80 years of age and a great-grandmother. She wanted to buy the crypt directly over Valentino but when I told her he might be moved later on, as he was merely occupying a section of the June Mathis groups she decided not to buy. “He was so sweet” she said. I loved him like one of my own children. If I cannot be near him always here I will wait awhile until they decide where he is to be moved. Then perhaps it can be arranged. This at 80 years of age. Peter’s diary ends here inasmuch as it concerns Valentino. But he informs me that the fifth anniversary in fact, was observed with greater interest than any since the first. I withdraw all my contentions regarding the advisability of launching a $40,000 Valentino Memorial at this time. The public, if invited, would undoubtedly subscribe $4,000.000, so dear is the memory of Valentino in their hearts.

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4 Feb 1922 Four Horsemen at the Capitol

With the coming of the “Four Horsemen of the Apocalypse” to the Capitol next week, Rex Ingram will have two pictures running simultaneiously on Broadway. In creating this stupendous production, this young director has made oneo the great classics of the screen. The picure, adapted by June Mathis from the novel of Vincente Ibanez, is not a war play, except as the war serves as a background for the story teeming with dramatic passion. The director has succeeded in concentrating the great struggle in a series of unforgettable pictures that flash out the quintessence of life. Through it all is the deeply human, deeply moving spectable of intensely real people in their baffled attemptes to readjust themselves to the demands of the war days. In the cast of 50 principles and 2500 extras are included a score of well-known screen stars. They are Rudolph Valentino, Alice Terry, Pomeroy Cannon, Joseph Swickard, Brinsley Shaw, Alan Hale, Bridgetta Clark, Mabel Van
Buren, John Sainpolis, Nigel de Brulier, Virginia Warwick, Derek Ghent, Stuart Holmes and Edward Connelly. SL Rothafel and his staff are at work on the details of a presentation in keeping with the production.

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22 Aug 1965 – Luther Mahoney on his friend Rudolph Valentino

Luther Mahoney, of Newport Beach is haunted by the obscurity that has befallen the entombed remains of his friend, confidant and employer of 40 years ago. Several times a year Mahoney, a jolly 72-year-old Irishman, visits that friend’s final resting place–an obscure, borrowed crypt In Hollywood Memorial Park Cemetery. “It’s terrible,” says Mahoney. “He deserves something better than that. I think if the public knew he was in a borrowed crypt they might get up a fund and put him into something proper.” That friend was Rudolph Valentino, the dark-haired screen lover with flashing brown eyes who starred in scores of silent films during the twenties. Tomorrow is the 39th anniversary of Valentino’s death, memorial services are expected to be conducted at his crypt. Every year dozens of men, women and children gather at the crypt for the services. But Mahoney won’t be there. “It would be awkward,” he says, “allot of curiosity seekers just asking me questions. I visit the crypt whenever I’m in Hollywood and always make it a point to be there on his birthday. But I never go to the memorial services, I’d rather go when there’s nobody around. I just say a prayer and leave.” Mahoney, who worked as a handyman and personal aide for the actor two years before he died in 1926, is trying to promote a fund to build a memorial tomb for Valentino. Shortly after Valentino’s death, there was talk of building a marble tomb for the actor, but nothing ever came of it. “I’d be happy if I could help to get him a nice place to rest,” says Mahoney. “My idea is to build a tomb with black Belgian marble inside with his solid bronze casket on display. It could then be viewed by the public. Ever since he died and they stuck him in a borrowed crypt it has disturbed me.” He says Valentino’s casket was originally placed in a crypt owned by June Mathis, the screenwriter Mahoney says gave Valentino his first big break In the Valentino represented romance to a world seeking relief from pressures. Above, as “The Sheik,” he rose to the heights of motion picture renown. Friend and former employee of Valentino, Luther Mahoney poses with a picture of film star who tried on an Indian headdress “just for kicks.” When June Mathis died, Mahoney says, Valentino’s body was moved into another borrowed crypt, which belonged to her husband. He later sold it to Valentino’s estate, according to Mahoney. “The unfortunate way they treated his body still haunts me,” he admits. “I’d like to do something about it before I die.” When Valentino died in New York City on Aug. 23, 1926, there was pandemonium. Outside the funeral home in New York where Valentino’s body was taken, thousands of emotional women fans rioted and broke windows. More than a dozen persons were injured. Women wept openly and fainted in the streets as they waited to file past the actor’s open casket in the mortuary. An estimated 150,000 persons viewed the body. During the funeral service at Church of St. Malacy in New York, the crowd outside surged out of control and scores more were injured. Pola Negri, the Polish actress who announced before Valentino’s death that she was engaged to marry him, and Jean Acker, the actor’s first wife, who said she reconciled with him before his death, followed his casket into the church. Then, as eulogies poured in from throughout the country, Valentino’s body, borne in a flower-covered casket, was returned to Hollywood aboard a special railroad car. “Romance is the only thing worth big headlines, and Rudolph Valentino spelled romance,” editorialized one newspaper. In Hollywood, preparations were completed for one of the most lavish funerals in the history of the film capital. There was standing room only in the Church of the Good Shepherd in Beverly Hills where Requiem High Mass was said for Valentino on Sept. 7. His flower-covered casket rested on a velvet catafalque of royal purple. On each side of the casket stood six lighted tapers. Grand opera star Richard Bonelli sang “Ave Maria.” Grief stricken and under the care of doctors, frail Miss Negri was wracked with sobs during the service. She was among more than 500 persons who jammed into the church to pay their final respects. Outside stood thousands of onlookers, and thousands more lined the route to the cemetery. Mahoney confides that he arranged for Valentino’s chauffeur, a former Royal Air Force pilot, to fly ahead of the funeral procession dropping roses. “At the cemetery he flew very low over the mausoleum dropping roses as they took the casket out of the hearse,” Mahoney recalls. “It was quite a sight.” In the months following Valentino’s death, thousands of women mourned him. And 35 women claimed he had fathered illegitimate children by them. However, all claims came after his death. There were no children from Valentino’s two marriages. VALENTINO’S best known mourner was the woman in black, who- dressed in black dress, black stockings, black hat, black shoes and black veil–appeared for years at his crypt with a bouquet of roses on the anniversary of his death. She hasn’t been seen at the crypt in recent years. Rodolfo Gugliemi Valentino was born In Italy, the son of a farmer, on May 6, 1895. A graduate of Italy’s Royal Academy of Agriculture, he came to the United States at the age of 18 with hopes of becoming a landscape gardener. However, he was unable to hold down a landscaping job, according to his biographers, and for several months scratched out a living washing dishes. Later, he took a job as a vaudeville dancer and migrated to the West Coast with a musical comedy company. That was 1919. Two years later he starred in what was to become his most popular film, “The Sheik.” Mahoney says he met Valentino by chance in 1922 while a policeman in New York City. “I was sent to the Ritz Hotel one night to ride as a bodyguard for Mr. Valentino–I never called him anything but Mr. Valentino although I was older–because I think he had received a threat. We talked quite a bit that night and he told me if I was ever in Hollywood to look him up.” TWO YEARS later Mahoney did. He went to work for a movie studio and eventually was assigned to Valentino’s staff. “I wasn’t his bodyguard. I just handled personal things. I had charge of the house and the domestic help and everything that belonged to him. I never worked for a nicer kinder caring man than him.

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26 Mar 1921 – From Hollywood

June Mathis who adapted “The Four Horsemen” for the screen, was formerly a well-known ingenue with many popular comedies and musical plays on Broadway. Before that time she was a popular actress in the stock companies of the East. She joined the scenario forces of the Metro Company three years ago and at once achieved great success in her work. When “The Four Horsemen” was produced, many marveled that this had been adapted by the peppery little ingenue. “The Four Horsemen” repeated one of her friends, “Why what do you know about horses? she was asked. “You forget,” Miss Mathis replied, “that I had long experience with stock companies”..

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18 Sep 1927 – Alberto Valentino

When it comes to a matter of experience Alberto Valentino has much more right to the role of the man of the world Rudolph Valentino. In fact Alberto has seen an active and a successful life. He no doubt regards his present objective as a new adventure, and any trail that may lead to fame or fortune is a game worth Alberto’s candle. He has been a successful journalist, writing with influence for papers in Taranto, Rome and Milan. In the World War he served in the army with such distinction he was appointed crown minster by King Victor Emmanuele. He was admitted to the bar at the age of 21 and for 12 years coupled with his journalistic activities. He carries an honorary degree in law from the University of Bologne. Alberto was the brother Rudolph referred to whimsically as the “the pride of the family” for it was Alberto who was passing his grades when Rudolph was being dismissed from military school and being sent to America by an exasperated family. But if Alberto led the life of a man he was to pay for his success from his physiognomy. When he went to Hollywood a year ago to adjust his brothers affair there were deep lines in his face though his eyes and Latin fire, there were little pouches beneath them telling of nights spent over briefs and proofs in the pursuit of professional distinctions. In adjusting his brothers affairs, the sensible Alberto came to the speedy conclusion his brothers greatest heritage was his name. The word “Valentino” spelled romance to millions. The success of Rudolph was more than the popularity of the actor, for it was one of the player’s perplexities that his public often preferred his bad pictures to the good ones. Valentino was simply Valentino and his acclamation could be explained by that blind hero worship the public occasionally falls into. Alberto told his thoughts to June Mathis, who had been the discoverer of his brothers talent. She proposed Alberto continue the name as a tradition of the motion picture. Alberto saw the point but he shrugged. He was older and he had lost his looks. Thereupon Miss Mathis advised a visit to a surgeon and the modeling of a new face upon an older head. The elder brother pondered. Eventually he complied. In addition, to the lines of his face, it was discovered he had a far too prominent nose to be used to advantage on the screen. This nose according to Miss Mathis, was the principal obstacle he had to overcome. With a bust of Rudolph for a model, the same surgeon who gave Jack Dempsey his famous nose molded the appendage of Alberto into a softer and more classic outline. He also removed a part of his chin. Alberto had the determined chin of a fighter, which was too domineering to grace the face of a “great lover’/ In the event I do not succeed, he says my son will endeavor to follow in his uncle’s footsteps. The boy is 13 years old and looks like Rudolph. His name is Ojovanni and he is now in school in Turin. We decided his screen name will be Jean Valentino. I have high hopes for his success. Alberto says Rudolph did not favor his entering motion pictures either as an actor or in a business connection. He felt Alberto’s professional success was too well established for him to risk everything on a theatrical adventure. However, Alberto had a secret yearning for the stage in his early youth. The nearest he ever has come to an expression of it was as a dramatic critic in Rome and Milan and as the author of several short plays. So in his 35th year Alberto Valentino is setting out on as strange an errand as ever occupied a man; the recapture of past youth and beauty and the rekindling of a dead flame with them.

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21 Dec 1924 The Secrets of Valentino’s Life

In honor of the birthday of Rudolph Valentino, I will be publishing an article from 1924 about the secrets of Valentino’s life.

It is all very well, but there is just something special about Rudolph Valentino. Oh no, dear messieurs he is not effeminate, not a particle. Thus do you console yourselves upon an error, condone your envy and misjudge the ladies. None go quick as my sex to resent effeminacy in the male. Not thus can our enthusiastic admiration be aroused. There is no gainsaying that the gentleman has a compelling fascination for me, and should I say it in largely because of his agreeably self-confident masculinity, just as men adore agreeably self-confident femininity. My visit, coincided with the removal of the famous beard, and I met him direct from the hands of his barber. Alas I did not obtain a precious lock thereof. He oozed relief, that pesky beard, grown for the leading role of “The Red Power” had ruined his European vacation. Even a Valentino shudders to be seen in the unlovely early stages of chinful growth. He had the thing for four solid months. His wife had actually grown to like it. But today, Valentino was himself again. A very easy man to talk to is Valentino and to listen to. “Who really found you I asked?” “I have heard so many claimants.” “For seven long years, working hard, playing small parts in sometime atrocious pictures. I labored to be found,” he smiled. “But it was June Mathis who opened the door of opportunity for me. It was she who saw me for the part in the “Four Horsemen”. Ah yes, June Mathis. With Valentino speaking so gratefully of her I wanted to know how it happened that June Mathis had left his employ. Because you know directly he entered independent production he had hastened to attach June to his staff to write the scenario of his first picture. So he frowned unhappily. “I cannot tell you how sorry I was not to be able to accept her script. But it just would not do, and we were wasting too much time. So we just had to postpone that production. I shall make these modern picture Cobra sternly finely resisting Nita Naldi’s wiles. And we shall see him in ordinary modern clothes minus the allurement of the costume pictures. It is good to hear this man talking about his pictures. I too, had heard that Mrs. Valentino provided all the managing ability of the firm. But I don’t believe that now. You see, he met Natacha Rambova when he was earning only an uncertain and precarious $175.00 a week and she was getting $5000 a picture as an art director. Were he employing her now at that figure instead of being married to her he would be a foolish man not to give her full sway in her special department. And he has the shrewd business sense to do that now. “I made Monsieur Beaucaire without interference he said. And was allowed my own way in everything under my contract with Famous Players. But I did not cut the picture myself my wife did that. “She made an exquisite job of it.” I declared. And he accepted the compliment for both of them just as any producer would. “What sort of little boy were you”? “A very troublesome little boy, who occasioned his mother much sorrow, he admitted.” You would never, never, guess what kind of sorrow. His besetting sin, if you please, was falling in love with grown-up ladies as old as his own mamma. “You don’t mean that they fell in love with you that young, do you”? “No indeed, the ladies do not fall in love with me, he insisted modestly.” “That mountain of fan love letters, I reminded him.” Oh they are in love with the characters I play not with me the man.” That is why I do not like personal appearances. In Italy I felt I was in the soup or must fall out of the window, but I made it better by wearing my costume of the play, he explained. “he really managed to look thoroughly modest as he said this “Come tell me, what is your pet egotism’? I asked. “Oh, I have one. Very surely he admitted, laughing gaily, and affectionately stroking that recently revealed chin “and it is that my seven years of hard work and poor pay before June Mathis opened the door for me have been rewarded, that I have proved my ability that I can make good pictures, that I can act, and that I have some good artistic and business judgment are, I am not ashamed to show you my egotism he concluded. Well, maybe he was fascinating me, but he was wearing regular clothes and he says he isn’t fascinating in that way, but anyway I found myself agreeing with him. I think that is a pretty reasonable sort of egotism for him to indulge when he can do it as gracefully as he does. He sighed artfully at this point “Isn’t it dreadful to see those fine old trees being cut down in the street outside he said? Just to make a street wider and they take fifty years to grow to such beauty. Well I just felt as if I wanted to pet and comfort him about it. I asked him for an autograph and this is what he wrote on my picture. “Hoping to be kindly remembered.” Rudolph Valentino. Now wasn’t that modestly, artful and discreet and graceful bearing in mind that I am a newspaper woman.

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