Of all the star-worshiping that went on during silent cinema, it is perhaps the obsession with Rudolph Valentino that is most mystifying today. When he died prematurely, at the age of 31, numerous fans were so distraught as to commit suicide. His funeral was besieged by thousands, and a legend was born when a mysterious lady in black began annually placing funeral wreaths on his tomb for decades to come. Valentino had such an impact on pop culture that everyone fromto were influenced by him.
Yet today, there are relatively few Valentino film festivals or revivals, and when his films are seen (rarely), they will inevitably prove disappointments. Valentino never made a great film. In fact, most of them are dreadful. (In his defense, he didn’t make very many). Of course, someone will inevitably make the tiresome 21st century claim that this is true of most movies from the silent era, despite the fact that there are plenty of films from that period that have good writing, performances, direction and hold up even better than many films of the Fifties and later. We could attempt to produce examples of stellar acting in lesser films, however, this does not work with Valentino. Although his charisma scorches, his acting is extreme in its use of silent film cliches, mechanical and bizarrely exaggerated to the degree that it elicits amusement today as opposed to the near orgasmic reaction of his contemporaneous fans. Undeniably eroticized, his screen persona was also amoral; he was a rapist. Otherworldly, he doesn’t even seem human, which is perhaps why he is primarily known by name alone. It’s doubtful if many today would even recognize his image.
Sometimes, the reason for stardom is more for a colorful biography than an actual body of work (e.g. Tallulah Bankhead), but this isn’t necessarily the case with Valentino. His biographers contradict each other with bullet point details, which is to be expected since the star’s press kit was largely fiction. What we do know is that he was born in Italy and immigrated to the United States in 1913 looking for employment. Some reports have him working as a male prostitute, but that is widely disputed as well. He bussed tables and briefly found work as a taxi driver, which is how he met actor Norman Kerry, who convinced Valentino to try a career in the new cinema business. Valentino became an “overnight” star with 1921’s Four Horsemen of the Apocalypse (although he had been doing small parts as exotic heavies in film for seven years), became a superstar with The Sheik later that same year, and became Continue reading KEN RUSSELL’S VALENTINO (1977)