Having booked into the Alexanoria hotel under the patronage of Norman Kerry, Valentino was full of expectation, hope and optimism. He was quickly disillusioned when he discovered that Hollywood did not rave over the new arrival. Continuing to accept the hospitality of Norman Kerry was out of the question so he moved to a small apartment.

Life was beginning to be a repetition of his former days in New York. He was often to be seen with a stray dog as companion, trudging from one studio to another in search of a days work as an extra at five dollars a day.

The studio casting offices labelled him as a “decoy”. Anyone with a slight foreign appearance seem to fall into that category, or so the studio chiefs thought. How wrong they were? How many studio executives bitterly regretted their decision in later years when Valentino became a sensation as a romantic lover.
Five dollars a day when he did work. They were a lifeline thrown to the struggling man fighting for survival.
When life became impossible he went back to the one thing he had travelled so far to avoid dancing. Excepting a dancing engagement at Baron Longs Watts Tavern he was paid thirty five dollars a week, considerably less than he had earned in New York at least it provided an apartment and food and laundry. Valentino was fastidious about his personal linen.

Leaving the tavern he was offered a job at the Maryland Hotel in Pasadena where he danced with Katherine Phelps. This engagement only lasted a short while and he was back again out of work.
Through the kindness of Norman Kerry Valentino was introduced Hayden Telbot, the writer, the writer and producer who considered him perfect for a part in a new film he hoped to produce. This he achieved, but owing to financial difficulties ‘The Married Virgin’ was not released for two years.
Gradually, he obtained other parts but always as the villain, the wicked count or a gangster. People like the Director Emmit J Flynn, artists like Dortothy Gish, Mae Murray and her husband Robert E Leonard were responsible for Valentino’s slow progress up the ladder of fame.*

Since his arrival in Hollywood the private life of Valentino had run parallel with dancing and efforts to break into pictures. Most of his friends were centred within the confines and influences of the film colony. Parties were more often than not a thinly veiled attempt by the artists to keep themselves in the glare of publicity.
At any time a Director might be inspired to throw a few crumbs of hope in their direction. It was at a party given by the actress Pauline Frederick that Valentino’s matrimonial troubles began. He met Jean Acker that evening. They were attracted to each other and the marriage took place on November the 5th 1916 in the presence of Mr and Mrs Karger. Mr Karger was director of Metro. In the words of Valentino: ‘After the ceremony we had supper and danced till 2 a.m then we partied.’.

Next morning, Jean told Mrs Karger that she had made a mistake and couldn’t go through with it. When interviewed by reporters Valentino never discussed the real reason, that Jean Acker was more attracted to her own sex, and she had done what many men and women do in the same situation she had deliberately married then taken fright and returned to her own former love lifestyle. After a distressing legal battle Valentino won his case for desertion, and was granted a divorce.

*:See: Volume 2 ‘Films’
Valentino possessed an inborn sense of courtesy. His manners were those of the continental, there were no rough edges. Because of his sensitivity he often withdrew behind a barrier of reserve that was misconstrued as conceit. He did not bare his soul probably no one ever knew him. He was quick tempered but the outbursts were not vindictive and he showed no malice towards Jean, in fact George Ullman, allowed Jean to visit the Poly Clinic Hospital where Valentino lay dying. And she was one of the last to see him alive.

With the help of June Methis the script writer Valentino made a successful debut as a romantic lover in ‘The Four Horsemen of the Appocalypse’ It established his as an actor of repute, and also helped Metro out of a crisis.

It was during the making of his next film ‘Uncharted Seas’ that he met, for the first time, the woman who was to influence his private life and dominate his future career. Natacha Rambova was art director for Madame Nazimova, and they were looking for a young man to play Armande in the forthcoming production of ‘Caille’ being made by the Metro Company.

Valentino and Natacha.

Dressed in fur ‘arctics’ and heavily made up Valentino presented himself to Natacha. Anything less like Armand could not be imagined. Nazimova was more confident. She had seen some rushes of Valentino’s work and had also received a good recommendation from June Mathis. Finally the details were completed and ‘Caille’ would be held up for three weeks to allow Valentino to finish the ‘Uncharted Seas’.

Natacha Rombova was born Winifred Kimball Shaughnessy in Salt Lake City Utah. Her father was a Federal Marshall of two states in the U.S.A her mother was a descendant of a morman patriarch. By the time Valentino had met Natacha her mother had married again, and become Mrs Richard Hudnut wife of the millionaire cosmetic king.

At the age of seven Natacha was taken to Paris two years later she was studying Ballet with Rosita Mouri of the paris Opera. She also studied architecture at the Beaux Arts. Returning to New York she joined Alexis Koslof’s Ballet Company.

Alla Nesimova went to the Koslof school in Los Angeles for lessons, saw some of Natacha’s drawings and asked her to make sketches for a film which Cecil B.De Mille was producing he put her under contract as Artistic Designer. Natascha spoke both French and Italian she was a beautiful woman a brilliant artistic woman with many cultural interests and a burning ambition to reach the height of profession. That she had rare artistic ability Valentino takes care to point out in the later part of this book.

During the filming ‘Camille’ Valentino was in daily contact with Natascha he adored her. Whether his adoration for her clouded his own judgement and wrecked his own life it is true to say that her own artistic ambitions were inspired by his success, and a tug of war developed between her desires and the studio who eventually refused to finance her projects.

At first Natascha was cold and impervious to his advances. He had to be content with a smile of thanks for the small attentions which she accepted as a right.
Valentino’s beauty loving soul became enriched as she led to him into a world of art, music and books. Gradually, she became to take more interest in the younger man who was such an apt pupil. Valentino and Natascha had much in common. Both had been educated in Europe. Both were trained dancers and she was a perfect partner for the professional Valentino. A warm friendship developed between them. He spent most of his spare time converting packing cases into strange shapes which she would cover in red Chinese lacquer. Exotic rugs were painted onto the floors of the bungalow which she had moved into on Sunset Boulevard.
They went to a costume ball Valentino in the costume of ‘Julio’ and Natascha as ‘Cleopatra’. They became engaged.

Motor cars were a passion with Valentino, speed was a dangerous commodity in the hand of Valentino. He bought a car on the instalments system but had to return it for lack of funds, now he decided to use natascha’s little Buick runabout. She had improved it with various little luxuries but in the opinion of the expert it had no ‘pickup’ so it must be got rid off and another bought after a great deal of searching Valentino found his ideal car it needed much attention on the outside but the motor was fine. A few dabs of paint would solve the problem of the outside. Natacha was furious but could not win Valentino’s enthusiasm for his ugly duckling. In later years, he was often found underneath the car watched by his chauffer Hector.

Money was scarce between films and Valentino and Natascha drove into the country with a gun to replenish the Stock-pot. He was a splendid cook, and loved to prepare his favourite Italian dishes, often asking June Mathis and her mother to share the meal with them.

After the completetion of the ‘Conquering Power’  and adaptation of Balzack’s ‘Eugene Grandet’ by June Mathis, left the Metro company considering the success of the ‘Four Horsemen of The Apocolypse’ the film company was sadly lacking in their appreciation of Valentino as an actor.

After some delay he was signed up by Famous Players-Lasky corporation to make the ‘The Sheik’.

The ‘The Sheik’ had been written by Edith Maude Hull, an English woman. On its publication the book had had phenomenal success where it was to be found hiding discretly out of site of parents and the noble if misguided, moralists whose aim is to protect the innocence of their charge the story concerned the abduction and rape of an arab sheik. Who conveniently turns out be Vicount Caryll, Earl of Glencaryll thus ensuring a respectable ending with the lovers in each others arms. Before the release of the film the previewers were hesitant regarding the reception it would receive from the public. They were soon to find out. The women of England and America went wild with ecstasy, and made no secret of their devotion to the new cult the modern version of the word sex was born.

Valentino paid a high price for his success in the ‘Sheik’ henceforth and forever more the word would be associated with Valentino in a special sense. Too late he realised its implications and fought to protect himself. He came to loath the film and considered it to be in bad taste and a slur on the good name of the Arab.

The film company made ‘Maran of the Lady Letty’ for a special purpose. ‘The Sheik’ had drawn in the woman patrons of the cinema why not make a film directed at the man. ‘Maran’ was a sea fairing story which enabled Valentino to act the part of a sailor. It was not a great success but it is a commendable film.

The next film beyond the rocks with Gloria Swanson as the leading lady did not give Valentino the scope to portray Valentino’s usual ability.

Reporters were still keeping up the debate in their various publications. One writer wrote:

“Valentino’s self confidence never led to conceit. No amount of adulation could reconcile him for any artistic shortcomings in his productions. That he recognised his powerful personality sometimes covered a multitude of sins of direction is evidence in an article in Picture Play Magazine”

The Interviewer wrote:

“In vein to you tell him that ‘The Sheik’ made money. That the ‘The Sheik’ was one of the most popular films of the year. Mr Valentino will simply reply that ‘The Sheik’ was a fatal mistake. “What nonsense it was! he exclaimed. I neither acted like an Englishman or an Oriental. I was directed and obliged to play it like an emotional Italian. I was all out of character. The Crintal is stolid, the Englishman prides himself on his self control. Then why all the eye-rolling in ‘The Sheik’.

At the time Valentino signed the new contract with Famous-Players Lasky Corporation Valentino was moving into the happiest time of his life. Granted there were legal difficulties with his divorce from Jean Acker but otherwise he had everything going for him.

Unable to cope with the flood of love letters and verses written by his admirers Valentino passed them onto a couple of secretaries. He was bewildered and flattered by the onslaught. Young enough to feel a boyish pride in his success, yet old enough to realize his responsibilities, and that his private life was being invaded.

Both Valentino and Natacha were very fond of animals and the little Bungalow on Sunset Boulevard began to assume the appearance of a Zoo. The collection consisted of ‘Sheik’ the police dog, two great dane puppies which Valentino had given to Natacha as a wedding present. ‘Zela’ the cub, a green grass donkey, and a gopher snake which Valentino had brought back from the location of Oxinard.

Animals were everywhere when Mrs Hudunt arrived to inspect her proposed son-in-law. She tripped over a snarling a bundle of fur in the bathroom, and could not park her car in the garage for the pups. ‘Zele’ the lion cub grew so alarming that the neighbours were frightened and firmly requested Natacha to remove herself or her pet. It was boarded out with Neil Shipton’s trainer, then sent to Oregon. Going to say goodbye Natacha was playing with some other animals when she missed Valentino and found him sitting on the floor of the cage with ‘Zelas’ head on his knee and tears streaming down his cheeks.

Mrs Hudnut became very fond of Valentino, who described their first meeting:

“We entered the house just as Rudy arrived for dinner. I saw a slender boyish athletic-looking Asonis, with the dark, fervent eyes or romance, and a frank honest smile that completely won my heart. As he had come from location he apologised for not being dressed for dinner. Rudy in accordance with Italian custom embraced both Mr Hudnut, and me kissing us both affectionately on both cheeks. It was impossible not to love this impulsive, naïve child. Mr Hudnut and I left our hard working children with the promise that Rudy would visit us in San Francisco as soon as his film was finished.”.*

A nice group of friends surrounded Valentino. Some of them were members of the ‘Los Angeles Athletic Club’ where he boxed, fenced, and fooled about as young men do. Valentino was living a free happy existence going to beach parties, picnics, and driving his fast car.

Having been accustomed to the soft wines of France and Italy he was not a hard drinker, and Natascha tells an amusing story in her book, of the time the husband of Alle Nazimova, Charles Bryant, started their evening party entertainment by tipping their bottle of scotch. Valentino, not to be out done followed suit. Much kicking under the table was done by the outraged women, who finally broke up the party in fine feminine style by flouncing out. By virtue of ownership, at that time, Natacha refused Valentino the privilege of using her car, and left him wildly proclaiming he was sober as he ran behind the vanishing vehicle.

*See: ‘Rudy’ An intimate portrait of Rudolph Valentino by his wife Natascha Rambova. Published by Hutchinson and Co.

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