Speaking figuratively, Valentino’s ship was again sailing towards troubled waters. At the very beginning the production of ‘The Hooded Falcon’ ran into difficulties. No studio in New York had sufficient space for the large sets envisaged by Natacha, so it was decided to make the film in Hollywood. Valentino had already rented, and furnished a luxury apartment on Park Avenue, this was closed and he and Natacha moved back to Hollywood, where they took up residence at Whiteley Heights.

Difficulties now arose over the script of the ‘The Hooded Falcon’. In the limited time at her disposal June Mathis had done her best, but the result was not acceptable to Natacha. Because of earlier commitments June Mathis was unable to rewrite the scenario. Realizing that delay was inevitable Mr. Williams, for Ritz-Carlton pictures inc. Suggested that a small film should be made in the interim. While in New York, and unknown to Valentino, he had bough the film rights to a successful stage play called ‘Cobra’ by Martin Brown. This was now presented to Valentino for his consideration. Valentino was not impressed by the choice of story, and turned it down. Intimate drama was too slow and ponderous for the dashing dare-devil who had faced Andalusian bulls in ‘Blood and Sand’, and with superb swordsmanship fought his way through ‘Monsieur Beaucaire’.

Part of the publicity for the film 'Cobra'

Every day there were more difficulties to surmount, as each arose, ‘Cobra’ was presented as an alternative to ‘The Hooded Falcon’. Finally to save further trouble with the newly formed company Valentino consented  to make the smaller film first. Certain aspects of the play were altered to fit Valentino, but his jusgement was proved to be sound and film only achieved moderate success. For ‘Cobra’ valentine put on boxing gloves, and learnt the art of the boxing ring. He was fortunate in having the services of Gene Delmont, and the friendship of Jack Dempsey, Heavyweight champion of the world (1919-1926) who gave him advice.

Valentino and Dempsey

Valentino had at last made the Associated Master Barbers of America happy by shaving off the offending beard.

Production of ‘The Hooded Falcon’ never really got going. The brain-child of Natacha Rambova had developed into an ‘extravaganza’ that the limited finds of Ritz-Carlton Pictures Inc. could not cope with. Finally the company wound up, leaving Paramount to release ‘Cobra’ through the usual channel George Ullman, Valentino’s manager, was left to clear up the mess, while Valentino and Natacha went to Palm Springs to relax and await further events which were to undermine and break-up their marriage.

A group of stars including Charles Chaplin, Douglas Fairbanks, Mary Pickford, Norma and Constance Talmadge formed a company called United Artists. When the opportunity was presented to Valentino to join up with these famous names he was delighted. He had at least come into his own. The new agreement would entitle him to a fixed salary of $500,000 a year, plus a share in the films he made.

Accompanied by Natacha, Valentino left Palm Springs and returned to Hollywood to sign the necessary papers. The terms of the contract proved a great shock to Natacha, who discovered that a clause had been inserted which forbade her from having any involvement in the films made by the company. The studios had at last rebelled, against what they considered the ‘wifely’ management of Valentino’s business, and public carreer. Natacha gracefully acknowledged the honour paid to her husband and encouraged him to sign. All the time her mind was occupied with schemes to turn his latest rebuff into an advantage. Waiting until they had returned to Palm Springs for a rest, Natacha suddenly announced her desire to become an independent film producer, and make a film of her own. Valentino, at first refused to give her the financial support which the project entailed.

Situated on the edge of the desert, Palm Springs was the ideal retreat Valentino spent hours riding over the sand, turning over in his mind the latest development, trying to build up a defence against the barrage of questions and arguments, which awaited him upon his return to his wife. Finally, he gave in, and gave her what she wanted. To George Ullman was given the delicate mission of advising and arranging the details. Apart from a desire to make Natacha happy, Valentino had a genuine belief in her ability and thought that she was capable of great achievements.

In some aspects of Valentino’s character, his attitude to home life his desire to be the provider for those he loved, showed that he had been born too late. In the present idiom we can use the expressions ‘corney, square, he wasn’t with it, but are the comments of the present day intellectuals really a true reflection of a gracious age.’

Natacha was born a generation too soon. Although she would never have engaged in their activities she was really an early exponent of ‘women’s lib’. In those day it was called women’s emancipation, why should not a wife have a career.

The technique and ideas she tried to infuse into the film industry were, in most cases, too advanced. Her sets and designs, were years ahead of the 1920’s. She needed the widescreens and present day technology to do justice to her genius.

There had been another factor in the breakdown of the marriage between the marriage of Valentino and Natacha. It was not only business interests that separated them. They both had a passionate love of animals, but when it came to starting a family she argued that it would be more sensible to wait until the time when parenthood would not interfere with their careers. In fact she deliberately deprived him of fatherhood. On the second occasion she enlisted the help of Nita Naldi. Brought up in the traditional Italian family, and wanting babies of his own an abortion induced by his wife must have been a terrible shock for Valentino.

A Russian classic was selected by United Artists for the fist Valentino film. This was Alexander Pushkins ‘Dubrovsky’ renamed the ‘The Eagle’ the part of a young Cossack who incurs the displeasure of his Czarina and becomes a famous bandit called ‘The Black Eagle’ suited Valentino. His love of riding and his expert horsemanship were a great asset and gave a polished finish to a well made film.

Christmas 1924 was spent at Whitely Heights. The season of good will momentarily drew the Valentino’s together and they seemed happy to outside observers. Many years before when money was short, Natacha had admired a watch in a jewellers shop Valentino had never forgotten and now sent George Ullman to make the purchase if the watch was still for sale. Returning with the trinket, he handed it Valentino. Natacha’s gift to her husband was the famous slave bracelet which was never removed from his wrist and was buried with him. Press reporters caused Valentino a great deal of embarrassment by there impertinent questions, but Valentino was always reticent and refused to gratify their curiosity. This again shows the strength of character possessed by Valentino.

Both husband and wife both occupied by their respective careers drew further apart. One press reporter commented that ‘When Natacha lost her grip of Valentino’s business affairs she also lost her interest in him as a husband’.

How much these stinging comments made in the press, and by so called friends contributed to the eventual divorce it is difficult to say. Two people continually in the glare of publicity and frequently misquoted have very little chance of resolving their differences in private. Mrs Werner Natacha’s aunt, did everything possible to smooth out the difficult situation in gratitude, Valentino left her one third of his estate.  

For a long time Natacha had desired to live in the fashionable district of Beverly Hills and Valentino had begun negotiating the purchase of a very fine estate. He hoped and prayed that as mistress of the elegant house she would be able to entertain her guests and find pleasures that would distract her mind from the determination to carve out a career for herself in the world of film.

As the stepdaughter of Richard Hudnut, the cosmetic king, Natacha Rambova was well equipped to write and make a comedy entitled ‘What Price Beauty’ undertaken at a modest cost, the final outlay soared to nearly $100,000 and became a serious headache for Valentino. The film only had limited success, the artistry of Natacha was too far advanced for the taste of the general public at the time.

The Hollywood life did not appeal to the Valentino’s. They would rather spend their evenings quietly reading or entertaining a few selected friends. This mode of life neither suite the publicity department of the studio nor certain sections of the public who resented any attempt of a private life on the part of their idol. He was not living up to the image of a ‘Sheik’ here and there it was whispered: ‘Valentino has become upstaged, henpecked’. In an effort to combat the accusations they began to appear more often in public they did all the usual things went to all the popular places, gossiped with the right people. Natacha in her book worte: ‘Gloria Swanson, was no fool when she packed her belongings when she packed her things and moved to New York, establishing he permanent home is the east. The east, where there are at least plays, operas, concerts and museums as diversions from the continual grind.’

‘We started to go out more often. We did the expected things we joined in the fun, we danced, we gossiped, we giggled, we flirted, we laughed, we drank, and exceeded in being exceedidly bored. We even went on those amusing expeditions to Venice the Cony Island of Hollywood, where we ate hot dogs rode on the merry go round and pretended we were having an hilarious time.

I am not going to describe any of the widely heralded Hollywood parties with unmentionable details, or my insinuating that Hollywood is a wicked city, it is not even that. Nothing but sham and more sham.’

The name Valentino spelt romance to millions of women throughout the world. To the one woman that mattered more than anything else in the life of Valentino it meant nothing. Valentino was romantic at heart he believed in the highest form of love and devotion between a man and woman. Such a devotion he had witnessed between his parents. Perhaps, Valentino expected too much. The exotic beautiful woman with the intellectual mind of a man, who formed a stimulus for his own mind, was hardly the type to settle down to providing him with a family, and the creative comforts of a happy Italian home.

During the marriage he was completely faithful to his wife. Not one newspaper reporter even suggested that he might be disloyal. To Valentino, Natacha was his world, and no other woman existed for him. Quite naturally, his pride suffered, but the hurt went much deeper with the realisation that he had failed to reach the Soul of the woman he loved.

The kiss at the station.

After kissing goodbye at the station and putting on a brave act, for the benefit of the camera crews at the platform, Natacha went onto New York and took an apartment, and requested George Ullman to find her a part in a film. This was secured for her. Leaving New York she travelled to Paris to buy wardrobe for the forthcoming production, and while there made the initial arrangements for the purpose of a divorce in France. Repeating these details she went on to Juan Les Pins to stay with her mother at the Chataux.

Valentino went to Palm Springs for a short period to hide his grief. Then returned to Hollywood to carry on with the filming of the ‘The Eagle’ but he was a changed man.

During the production of ‘The Eagle’ Valentino introduced a new innovation the building of a bungalow on a set for the convenience of the star. Other film stars followed his example and it became the accepted thing.

At the bungalow Valentino gave small informal luncheon parties at which Vilma Banky, his leading lady, and Beltram Masses, the Spanish court painte, were usually present. Sometime previously Beltram Masses had arrived in Hollywood to paint Valentino. Subsequently he held an exhibition at the Ambassador Hotel in Los Angeles which included Valentino and one of Valentino and Natacha. The Spanish painter had been very friendly with the Valentino’s during the difficult period before the separation, and now he endeavoured to help Valentino by teaching him to paint.

Mrs Werner the Aunt of Natacha had also arrived back in Hollywood after the departure of Natacha for Europe, and these two loyal friends acted as chaperone when the beautiful Hungarian actress was present. Wherever Valentino went the press were either there or not far behind. Everytime he was seen in the company of a woman the reporters hopefully tried to link their names together.

Since his death Valentino has been a goldmine to many writers in America who lacking the literacy ability to achieve fame by their own merits have deliberately written articles and books, which were only a product of their own filthy imaginatoions.

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