Posts Tagged With: Rudolph Valentino
A woman is fundamentally the same, whether she is a movie star or a Park Avenue society but the happiest moment in her life is when her hair turns out just right. That does not mean that women have a corner in the personal vanity market. NO woman in the world could be more fussy about their hair than a male movie star. These are the deductions of an expert, Ferdinand Joseph Graf, for three years, the official hairdresser to moviedom who is now at Arnold Constables. Mr. Grafs first job with Famous Players was to prepare the wigs for Valentino in “Monsieur Beaucaire”. Natacha Rambova the stars former wife, brought him out to the studio from the 5th Avenue beauty parlor she patronized for that purpose. He liked the work so well and the stars apparently liked him so he well became the official hairdresser at the studio for three years.
Distinguished French psychologist Pierre Delenne, declared the other day his belief that much acting in the emotional dramas of the films may easily unfit men and women for meeting successfully the problems of reality which they have to face in every-day life. According to his theory, they can become so accustomed to the romantic, rose-colored glamour which the movies throw about everything that when they come into the harsh glare of actuality they are likely to be hopelessly blinded or to see things in such a distorted way that they make the saddest kind of mistakes. The movies are capable of more harm in this respect than the speaking stage, he thinks. While on the speaking stage an actor may play the same part for a year or longer, in the movies he crowds into the same space of time a great many different roles. Working at this continual high pressure in the world of make-believe, the movie actor may easily become obsessed, Professor Delenne thinks with the idea that everything must have a happy ending, particularly where love is concerned. That the swift triumph of true love over all sorts of obstacles is inevitable is the very breath of life of most of the great film successes. The scenario writers, directors, and continuity men hammer away at this false notion so persistently and elaborate it in so many ingenious ways that it is no wonder the actor should often get to taking it for the solemn truth. The awakening from his blissful dream that love is a n irresistible force comes when he runs against the stern realities of civilization’s laws and social conventions things which in the world where he has been living have been overcome with greatest ease. All this is extremely interesting to us here in America, where the movies had their birth and have reached their greatest development. Everybody will at once think that very possibly this theory maybe the true explanation of the extraordinary series of scandals in the motion picture world, which former Postmaster General Will Hays is now doing his best to bring to an end. Certainly it would seem that some such theory as Professor Delenne’s offers the only plausible excuse for the desperate changes which Rodolph Valentino, the famous heartbreaker o the films, has lately taken with his love. Unless he were obsessed with the idea that love must inevitably have its way and that there is bound to be a happy ending to every heart-burning romance, what could have possessed him to risk a prison term in order to possess the woman he loved, a few short weeks before the law said he should? In the movies, Rudolph Valentino ran to Mexico with the beauty for whom he “just couldn’t wait any longer” would have been quite all right. Such trivialities as the laws of the State of California would have been cast lightly aside or else bent in a way that would have served the scenario writers purpose just as well. And the final close-up of Rodolph and his perfume heiress would have shown them clinging to one another, approved of by everybody and tasting the first of an ever-lasting bliss. But, as Rodolph Valentino and Miss Hudnut have learned to their sorrow, the laws on the subject of bigamy are not the negligible things the scenario writers and movie directors would have us believe. What they planned to be the most fascinating of romantic dramas gives promise of winding up in a dismal tragedy just the sort of an unhappy last reel which no popular motion picture would tolerate for a minute. Instead of possessing the bride for whom he yearned with all the fire that has made him one of the most famous of screen lovers Rodolph Valentino is separated from her by width of a continent. In her home in the East she hides, distracted by anxiety over her lover’s predicament and by the pitiless publicity that has been thrust upon her. Out in California, alone and broken hearted, he impatiently awaits trial on a charge that may land him inside the gray walls of a state prison. “But even the fear of a prison term could not dim the flame of love that blazed so hotly in their hearts. Captions like this are of frequent occurrence in the films. Evidently Rodolph Valentino thought the sentiment they express founded on a truth which could be turned to the advantage of his love hungry heart. But now he and his perfume heiress know that only in the make-believe world of the films is love able to defy the law in such high-handed fashion. Bigamy is not so lightly regarded in real life, and for those suspected of it there are troublesome sheriffs and prosecuting attorneys, stern judges, and juries to be reckoned with. According to Professor’s Delenne’s theory many movie actors are in a condition quite similar to that of an unfortunate shimmy dancer who cannot keep from shimmying. They have loved so often and with such made impetuosity on the screen, and all their dreams have so invariably come true, that they have become carried away with the idea that such things are as easily possible in real life. So it was, it seems, with Rodolph Valentino. In the “Four Horsemen of the Apocalypse” “The Sheik” and countless other film successes he was always the all-conquering lover. He loved with an intensity that acknowledge no obstacles, brooked no delay. And just like this should it known in the California film world as Natacha Rambova. He had only recently received an interlocutory decree of divorce from Miss Jean Acker, the screen actress, and until the final decree was granted he had no legal right to marry again. But Valentino, with all the impetuosity that has made him famous as a screen lover fled across the Mexican border with his sweetheart and they were married. The close-up that followed was a grim contrast to the happy endings which are the delight of the movie goers.
“I want the public to forget that I was ever Mrs. Rudolph Valentino” says Natacha Rambova alias Winifred Hudnut. “But privately that is another matter, for he is still with me talking from the other world”. The former wife of the late screen star, who is now starring in a mystery play, explained that she was “tired of being called Mrs. Valentino because some people seem to think that I am attempting to capitalize on the late Mr. Valentino’s popularity.
William H. Roberts, Naval Officer today, was awarded $7,500 damages against Olga Petrova, Russian actress, for plagiarism from his play “The Red Wig” in production of “The White Peacock”. Roberts had brought suit for $35,000 royalties, claiming the actress appropriated the plot and dialog of his play. The jury had heard testimony for four days and deliberated for an hour and a half. Justice O’Malloy gave both sides ten days in which to file briefs on the motion of Nash Rockwood, counsel for Olga Petrova to have the verdict set aside. Rudolph Valentino, of film fame, who playing the leading role in “Blood and Sand”, which had been mentioned during the trial as containing many similarities to “The Red Wig” was the last witness called by Mme. Petrova in closing her defense. The ace of sheiks was dressed in gray tweeds and reddish tan shoes with gray suede tops. He wore a gold “slave bracelet” on his right wrist. Rudy was a bit late getting to court and nearly lost the opportunity of testifying, as the defense already had rested, but Justice O’Malley allowed them to put him on the stand. Col William Rand, counsel for the plaintiff, seemed entirely satisfied with Valentino’s testimony and declined to interrogate him. When Valentino entered the court room, followed by a bevy of flappers and youthful sheiks, he went immediately to Mme. Petrova at the counsel table. Making a courtly bow from the waist, “Rudy” kissed Mme. Petrova’s hand in the most gallant Valentino fashion. Referring to the theme of “Blood and Sand”, Valentino said” “It is a vivid story of passionate and lustful Spanish life. The male character becomes famous because of his ability as a bull fighter. He is a man of low birth. A lady of wealth becomes infatuated with him and they a liaison. “The main theme of ‘Blood and Sand’ is propaganda against bull fighting in Spain”. When Valentino made that statement COL Rand seemed pleased, as previous testimony had been that the theme of both “The Red Wig” and “The White Peacock” promulgated the economic independence of women and the defense had introduced testimony that “Blood and Sand” and “The Red Wig” were similar. At the conclusion of Valentino’s testimony a short recess was taken while both sides prepared to start their summation to the jury. During this recess Mme. Petrova and Valentino posed together for the newspaper photographers. Mme. Petrova appeared in court yesterday gowned in another charming creation. During the four days the trial has been in session she has appeared in a new and startling Parisian creation each day. Yesterday, she wore a black velvet turban, with a black ostrich plume drooping over her right shoulder. Her costume was set-off with a shimmering silver cloth blouse and a string of pearls. When recalled to the stand she testified that she had named her play “The White Peacock” due to reference in the dialog to the “proud peacock” which denoted the pride and bearing of the leading woman character. Roberts, the plantiff was recalled the brief testimony in rebuttal. Prior to writing “The Red Wig” in 1918, he declared he never had seen, heard of or read either the book or play of “Blood and Sand”. Regarding a similarity in the description of bull fights in his play and “Blood and Sand” he could offer no explanation, but averred he had seen at least 20 bull fights and in writing his play gave his own impressions.