Before Valentino: 6 Heartthrobs Of The 1910s

A version of this post was originally written for my Classic Movie Hub column Silents are Golden. Hope you enjoy!! 

When Rudolph Valentino became a 1920s superstar thanks to the megahits The Four Horsemen of the Apocalypse (1921) and The Sheik (1921), he basically changed the definition of “matinee idol” forever. Unlike many popular actors at the time, who tended to be steady, “regular guy” types, the young Italian often played characters with a dangerous edge and definite air of sensuality. Even today, it’s not hard to see why women became obsessed with him.

“Yuck”–said no woman ever.

Which might make you wonder: before Valentino, which leading actors were considered major heartthrobs? After all, when we list handsome silent film actors today, 1920s personalities like John Gilbert or Ramon Novarro will spring to mind–but who were the “hotties” of the Edwardian era?

Thoughts On: “The Son of the Sheik” (1926)

This is the final day and final post of Sheik Month. I hope you’ve enjoyed this look at Roaring Twenties sheik culture, and thank you kindly for stopping by! And I’m looking forward to what posts the spring and summer will bring (hint: a trip’s on the way!).

In 1926, Rudolph Valentino’s stardom was at its height. At the young age of 31, the Italian screen idol’s name was known around the world, there were several box office successes under his arm, and women adored him so passionately that public appearances often ended with his hat being stolen and buttons torn from his coat. Today, we look at portraits of this near-mythical figure dressed to tailored perfection with the light shining off his patent-leather hair, and wonder what thoughts were behind that meditative gaze. Perhaps he would surprise us–a few months before appearing in what would be his final film, The Son of the Sheik, Valentino spoke frankly about his romantic image: “The whole thing is false and artificial. You can’t go on and on with it…One appears to be what others desire, not what one is in reality.”

Be that as it may, in The Son of the Sheik Valentino proved that he could, indeed, “go on and on with it,” at least for one last time. Five years after appearing in his iconic role of Ahmed Ben Hassan in The Sheik (1921), he agreed to appear in the film’s sequel–despite his dislike of being pigeonholed as a “sheik.” Douglas Fairbanks’s Zorro films had brought sequels into vogue, and the fans, naturally, had been clamoring for more desert romances. And perhaps Valentino also agreed to the film since this time he could show his range–even having a dual role.

Fan Magazine Fun: “What It Costs To Be A Well-Dressed Sheik”

Continuing with this month’s theme, I thought you guys would get a kick out of this little article from Motion Picture Classic, September 1926 (right click to enlarge):

Rudolph Valentino–The Man Behind The Image

“The woman from fourteen to ninety loved him, because he made romance come riding home to her dreams. He was not the individual she craved, he was the symbol of what she craved.” —From a letter to Photoplay, January 1927

What does it mean to be an icon? In the case of film actors, we assume this means their image has instant recognition. Across the world, people belonging to every culture and race will recognize Marilyn Monroe or Charlie Chaplin. Their very names have symbolism–“Chaplin” calls to mind laughter and old-time slapstick, while “Marilyn Monroe” stands for glamour and sensuality with a touch of vulnerability. (Interestingly, many people I’ve encountered who mention admiring Marilyn have never seen one of her films.)

So let us consider “Rudolph Valentino.” Of all the screen icons, his legacy is perhaps the most obscured by mythology, fantasy and cult status. The mere mention of his name–and how fortunate he was to adopt the elegant “Valentino”–recalls the kind of old Hollywood romance involving soft lighting, perfectly tailored suits, glimmering jewels and long, thrilling kisses. It calls to mind the stories of sobbing, fainting fans at his funeral bier–for he died young, as everyone remembers.

But how many people today know what Rudolph Valentino looked like? How many have watched one of his films, or even a single clip? Who was the living, breathing human being behind the romantic name–the romantic dream?

Thoughts On: “The Sheik” (1921)

Throwback time! This post was originally written for the Accidentally Hilarious blogathon hosted by Movies Silently a few years back.  I’m dusting it off for you since you can’t have a Sheik Month without The Sheik itself. (Plus, this article was really fun to write.) Hope you get a kick out of it!

When I was but a wee silent film newbie, I discovered there were far more old films available on YouTube and Netflix than I’d thought. Innumerable classics of early master filmmakers, such as Intolerance, Greed, Battleship Potemkin and The Last Laugh were all awaiting me, holding within their hallowed reels the potential to unlock within my brain a renewed appreciation for film artistry, and the ability to view early 20th century history through fresh eyes. So what did I do first?

Why, sit myself down with a bag of cheesy popcorn and watch The Sheik, of course!!

“Yesssssssssss.”

Hommes Fatales And Hair Grease: The Phenomenon Of The 1920s “Sheik”

Post #1 of Sheik Month is here! Hope you enjoy!

We’re all familiar with stereotypical 1920s flapper–the fun-loving, trendy young woman who loved Jazz, dancing, and all things “modern.” But arm in arm with the flapper was the 1920s sheik, their male counterpart. There’s plenty of discussion about flappers nowadays, but there’s comparatively little discussion about sheiks, and the sort of factors that lead to their place in pop culture.

One of John Held Jr’s popular cartoons.

But “sheik culture” is an important piece of the Jazz Age puzzle. Its advent spurred numerous discussions about movie romance, masculinity and female desire. And its impact on American cinema was tremendous–in fact, you could easily categorize screen romance as B.V. (Before Valentino) and A.V. (After Valentino).

Presenting…

Obscure Films: “Moran of the Lady Letty”

And once again, one blogathon is hot on the heels of another! I’m happy to be participating in the Rudolph Valentino blogathon, hosted by Timeless Hollywood. 

One of Valentino’s lesser known vehicles, watched mainly by his fans and not often discussed outside of that circle, is the seafaring drama Moran of the Lady Letty (1922).

Photoplay, 1922.

Some time ago, before viewing Moran for the first time and after reading some fairly enthusiastic but slightly tepid reviews, I was all set to either like it or consider it merely another interesting artifact of film history under my belt. But midway into the film I not only liked it, but was happily absorbed by its straightforward, entertaining charm.

Accidentally Hilarious: On “The Sheik” (1921)

This post is written especially for the Accidentally Hilarious blogathon, hosted by Movies Silently.  Enjoy the post, feel free to leave comments, then head over to Movies Silently and check out all the other great articles!

When I was but a wee silent film newbie, I discovered there were far more old films available on YouTube and Netflix than I’d thought. Innumerable classics of early master filmmakers, such as Intolerance, Greed, Battleship Potemkin and The Last Laugh were all awaiting me, holding within their hallowed reels the potential to unlock within my brain a renewed appreciation for film artistry, and the ability to view early 20th century history through fresh eyes. So what did I do first?

Why, sit myself down with a bag of cheesy popcorn and watch The Sheik, of course!!

“Yesssssssssss.”

Rudolph Valentino’s “Secret” Spaghetti Sauce Recipe

Rudolph Valentino, known today for his iconic status as the main Sensual Latin Lover and Seductive Leading Man of the silent era, was a fun and charming guy who really loved his food.  Mainly, delicious garlicky food from his native Italy.

He was a man who inspired a million female fantasies, while he himself happily dreamed about pasta.  One of his fellow actors from Four Horsemen of the Apocalypse (1921), Stuart Holmes, said of Valentino: “All he thought about was Italian food.  He’d turn those big slumberous eyes on some woman and she’d just about swoon with delight, but he couldn’t have cared less.  He was usually thinking about the spaghetti and meatballs he was going to have for dinner that evening.”

“Mmm…meatballs…”