In my previous post (May 11, 1921 — Valentino Writes a Check: Reconstructing The Fascinating Backstory About This Very Special Collectible…) I included a time line of the events in 1921, a pivotal year in the career of Rudolph Valentino.
The filming of Camille had been completed in February 1921 and Rudolph Valentino’s next film, The Conquering Power began production one week later, with filming completed a few weeks later by the end of March 1921, with some work in April for retakes. In the meantime, The Four Horsemen of the Apocalypse premiered on March 6, 1921.
The Conquering Power was released a few days after Valentino began work on The Sheik on July 5, 1921. Valentino hadn’t worked from the end of March after filming The Conquering Power ended until the start of production on the film that would make his career explode later that year.
Tumult surrounded the production of “The Conquering Power.” The team that had produced The Four Horsemen included June Mathis, who wrote the script, and Rex Ingram, who would direct. Tensions with Metro arose over money almost immediately and conflict between Valentino and Ingram hung over the production.
The script was based on Honore’ de Balzac’s novel “Eugenie Grandet” which was part of Balzac’s series of novels about post-Revolutionary France under the title “The Human Comedy” (La Comedie Humaine) published between 1829-1950. It was written in 1833. The story opens in 1819 after the country has settled down after the end of the Napoleonic Wars in 1815. While Balzac was writing the story he developed his idea for “The Human Comedy” and quickly released a second edition, “revising the names of some of the characters so that Eugénie Grandet then fitted into the section: Scenes from provincial life (Scènes de la vie de province) in the Comédie.” (Wikiwand.com)
The novel was drastically truncated and story elements altered. The opening scene of Charles Grandet’s wild birthday party does not exist in the novel, for example. June Mathis’ script tried to shift the focus to Valentino and elevate the character of Charles into a romantic hero (Leider, page 144). And while he goes Martinique secretly engaged to Eugenie and returns years later and reunites with her in the film, the book is dramatically different. He does go to the West Indies among other places while making a fortune as a slave trader, which is not mentioned in the film; he asks Eugenie for his freedom to marry a woman from a noble family to enhance his status when he is back in Paris (saying he does not love her); and after Eugenie releases him she marries an old family friend without love, with the understanding that the marriage will never be consummated. After her husband dies, Eugenie lives frugally as she always has and gives her wealth to charity. The romantic reunion with Charles in the film after years apart never happens in the novel.
Against the advice of June Mathis, during the announcement of the film to the press, Valentino approached Ingram to ask him to talk to Metro’s Maxwell Karger about an increase in salary over the $350 a week that he was making. Ingram refused and Natacha Rambova thought Valentino should talk to Karger directly, which he did. Karger at that point was unwilling to raise his salary which didn’t satisfy Valentino.
Meanwhile, Natacha coached Valentino on how to enhance his importance for his future in pictures. She emphasized the importance of the people who lit the set, called juicers, and what he should tell the makeup people. He picked over the width of the lapels on coats. Valentino also groused about his lack of camera time but the reality was that his character was absent from long stretches of the book. When he displayed his new attitude on the set, the real friction between himself and Ingram began even as Ingram was already wary as Valentino’s performance in The Four Horsemen had gained so much attention at the expense of Ingram’s masterful direction.
Gag shot which belies the stress on the set….
Publicity portrait of, from left, director Rex Ingram, Rudolph Valentino, and Alice Terry from THE CONQUERING POWER, 1921. 7×9 b&w photographic print.
Source: Publicity portrait from the Margaret Herrick Library, Academy of Motion Picture Arts and Sciences
Ingram focused on the visual effects of the film. He would film his fiancee Alice Terry, who played Eugenie, with gauze in front of the camera to emphasize her fragility and ethereal nature (Shulman, page 153). Valentino became increasingly temperamental to the point where Ingram one day left the set to go to Karger to demand a replacement and start the picture all over again with a young actor named Ramon Samaniegas, the future Ramon Navarro. Valentino, knowing that the studio considered Ingram to be the more important asset at this point, went to Karger and tried to explain that he simply wanted to do his best and hoped for a better situation with Ingram…Karger said the studio had decided to give him a $50 a week raise for the last few weeks of filming which didn’t make Valentino completely happy (Shulman, page 152). June Mathis would act as a buffer between him and the director, assuring him that Ingram would not deliberately sabotage Valentino with poor lighting or shooting angles and the film was finally completed. Although the situation had been patched up, when asked if he would make another picture with Alice Terry and Valentino, Ingram replied with a firm “No.” And he would not deny that he had wanted to scrap the picture and start over again with another actor.
By the time the picture opened on July 8, 1921, Valentino had left Metro to sign a contract with Jesse Lasky at Famous Players-Lasky. Ingram was praised for his direction and photographic effects and innovative lighting (Leider, page 144), while Valentino was praised in The New York Times for “his finished performance as Charles Grandet. He is a pantomimist of marked ability.” (The New York Times, July 10, 1921). However, the film didn’t achieve the box office success that had greeted The Four Horsemen. Some critics did not like the shift to modern dress from what would have been worn in the early 1800’s. But polling had been done which showed that at the time, the public wasn’t interested in costume drama and June Mathis in the opening title acknowledges that “commercialism tells us that you, Great Public, do not like the costume play.”
But tastes would shift, at least among the women in the audience. The Sheik opened in two theaters in New York, the Rialto on October 30, 1921, then moving to the Rivoli the next week, smashing attendance records. According to Emily Leider, after Valentino became identified as the Sheik, when his pre-Sheik films were circulated, including The Conquering Power, “female patrons left the theater disappointed if the revived picture scanted” on love scenes.
A theater manager in Wisconsin complained that after seeing The Conquering Power his lady patrons gave him "a terrible razz...as they expected to see Valentino float through five or six reels of lovemaking."
…Valentino’s career would never be the same…
— See reviews from Photoplay (September 1921) and The New York Times (July 10, 1921) at Silents Are Golden
–Another beautiful video from mysilentboyfriend on Youtube …a present day “reel of lovemaking”!
Leider, Emily W. Dark Lover, The Life and Death of Rudolph Valentino. New York: Farrar Straus and Giroux, 2003.
Shulman, Irving. Valentino. New York: Trident Press, 1967.
Haydn, Hiram & Edmund Fuller. Thesaurus of Book Digests. New York: Bonanza Books, 13th Printing, 1965 (Entry: Human Comedy, The )