In my previous post I detailed the dueling Los Angeles premieres Rudolph Valentino enjoyed on October 30, 1921–the “Western” premiere of Camille and the “pre-release” debut of The Sheik. The Sheik then premiered in New York in two theaters–on November 6 at the Rialto at Times Square in Manhattan and in Brooklyn at the Rivoli.
The day after the premiere, the ad for The Sheik in The New York Tribune heralded first day attendance–20,000 on the opening day–although it shared the ad space with another Paramount Film, Peter Ibbetson. The following week, the ad for The Sheik on November 13 was far bigger and featured exciting descriptions of the film as the picture entered its second week at the Times Square Rialto.
Like her Los Angeles counterpart a week earlier, New York Tribune critic Harriet Underhill panned the story line of The Sheik in her review the day after the film opened.
Harriet Underhill writing in
The New York Tribune
Monday, November 7, 1921. Page 8.
…Kindly play “Hearts and Flowers.“
But Harriet Underhill’s critical appraisal seemed to soften as she commented, “…The Sheik, almost got us at certain moments in the performance yesterday at the Rivoli Theater. It is probably that this was so because the title role is played by Rudolph Valentino, and most any woman would try to bear it with equanimity if he carried her away on his Arabian steed to be the queen of the caravan.” While commenting that Agnes Ayres “doesn’t do anything in particular with Diana Mayo, the young lady who was the object of Ahmed’s desire,” she had much more to say about Valentino. She noted the “very wide eyes” that reminded her of Theda Bara but overall she was impressed by his screen presence as a “fine young animal, with a sense of humor and a predilection for vamping” instead of what she feared might be a portrayal as a “conservative and dignified person.”
The New York Times critic (name unknown) wrote a review that could be described as “tepid.” After discussing how the novel offered “no little amusement for the book reviewers,” he continued:
Again the writer must confess that he has not read the novel from which the photoplay under review has been derived. He knew he would have to see the picture sooner or later. Isn’t that enough?” ….Agnes Ayres is the girl and Rudolph Valentino is the sheik. Both of them can make the characters they impersonate seem real in a picture, which gives any character a chance to seem real.
(The New York Times, Monday, November 7, 1921. Page 20)
The New York Daily News critic, writing under the name “McElliott” was unhappy over the fact that the picture had been “denatured.” (“The Sheik” Has Been Denatured for the Movies, Daily News, Tuesday, November 8, 1921. Page 21.)
Daily News, New York, New York
Tuesday, November 8, 1921. Page 17
McElliott the critic finished with an attempt at humor about Valentino:
“The picture is beautiful as to photography and as to Agnes Ayres, playing the trapped Diana. She and Mr. Valentino are worth looking at, whatever the story. However, I like Rodolfo not so much in one of his turbans. The other is becoming.”
On November 20, 1921 The Sheik was released at over 250 theaters across the country and newspapers like the Arkansas Democrat announced “Sheik Week” to the public and noted the New York opening box office success. A month later, revised box office numbers confirmed the initial reports.
Where did the numbers come from? They were provided in a press release produced by Paramount Pictures that would become part of ads and picked up as “news” stories by papers across the nation.
Below is a “news” article from the Clarion-Ledger, Jackson, Mississippi (actually the Paramount publicity release) which shows the text in readable form:
Clarion-Ledger, Jackson, Mississippi
Sunday, December 25, 1921. Page 4
Headlines from newspapers across the country reflected the excitement and anticipation as The Sheik opening rolled out:
“Arabian Romance Makes Thrilling Drama for Screen..Spectacular Settings a Feature of ‘The Sheik’, Plot One of Interest“–South Bend News-Times, South Bend, Indiana. Monday, November 28, 1921
“The Sheik, Tremendous in Power, Wildly Exciting, at the Opera House“–Bangor Daily News, Bangor, Maine. Tuesday, December 13, 1921
“‘Sheik’s’ Story of Man Breaking Girl’s Strong Will, Many Stirring and Thrilling Scenes in Great Photodrama“–Great Falls Tribune, Great Falls, Montana. Sunday, December 25, 1921
“At Last ‘The Sheik’ with Romance, Thrills and Valentinoat the Regentand That’s That!“–The Wichita Eagle, Sunday Morning, November 27, 1927. Page 31
The headline from the Wichita Eagle set the stage to let readers know what the Wichita public could expect to see. And although a New York critic felt the film was “denatured” the Wichita columnist was careful about telling readers how the film had survived the state board while letting parents know that, even so, the film “wasn’t for children.” The accompanying ad heightened the public’s eagerness to join the anticipated crowds at the theater.
“At Last ‘The Sheik’ with Romance, Thrills and Valentino at the Regentand That’s That!“
The Wichita Eagle, Sunday Morning, November 27, 1921. Page 31
While The WitchitaEagle writer was concerned about children, a professor in Chicago had a different reaction…
We probably will never know exactly what that psychology professor discussed with his students after they saw The Sheik, but one hundred years later, we know that the arrival of The Sheik not only thrust Rudolph Valentino to a new level of fame, but also triggered a wave of reaction that turned the spotlight onto the shifting relationships between women and men. It played right into the spirit of the newly-liberated 1920’s and the beginning of “the Jazz Age.” But society hadn’t moved THAT far as the story had to work around the subject of interracial relationships/marriage. One hundred years later, we are still talking about The Sheik and although it may seem like a relic from a distant age, the echoes of the themes are still with us today.
1. Emily Leider, in her biography Dark Lover: The Life and Death of Rudolph Valentino, mistakenly states that the film premiered in New York on October 30, page 167.
2. Agnes Ayres also appeared in The Affairs of Anatol. See my previous post for more details on the overlap of cast members who appeared in this film and The Sheik.
SCROLL DOWN TO FIND INFORMATION ABOUT THE NEW BLU-RAY ANNIVERSARY RELEASE OF “THE SHEIK” COMING ON NOVEMBER 2, 2021!
The Wednesday, October 26, 1921 edition of the Los Angeles Evening Express inadvertently presented a snapshot of the “before” of Rudolph Valentino’s career as the motion picture world awaited the premiere of the film version of Edith M. Hull’s wildly popular novel The Sheik. Page 29 had three items–2 short announcements and one advertisement–that summed up the state of Valentino’s status up until the film was shown. The announcement of the arrival of Nazimova’s Camille focused on how Nazimova was adding her modern interpretation of the play to the long history the history other actresses in the role. Another ad for The Affairs of Anatol included a notice that the next coming attraction at the Rialto would be The Sheik. The third item was the full announcement about how a special arrangement was made to present The Sheik a month ahead of general release as producers were anxious to have the reaction in Los Angeles, the film industry company town.
First “Western” Showing October 30, 2021. No mention of Rudolph Valentino in the role of Camille’s lover Armand Duval…it was all about Nazimova.
Agnes Ayres played Annie Elliot, a thieving farmer’s wife who becomes one of Anatol’s “affairs”.
“The Sheik” was the next coming attraction in the ad…
Producers wanted favorable “expert” opinion of the LA public to bolster the later nationwide release.The film premiered on November 6 in New York and released nationwide on November 20, 1921 (not the 25th as initially reported in this article).
Nazimova’s production of Camille had been introduced at a reception and special preview showing at the Ritz-Carlton Hotel in New York City on Wednesday, September 7. She traveled to New York to attend the event, along with her set/costume designer Natacha Rambova and her leading man Valentino, who were now a couple. After spending some more time in New York (Nazimova attended nearly every play on the boards at the time), the party left New York on September 18 to return to Los Angeles. Distribution of the film began on September 26, 1921, with a “Western” premiere planned in Los Angeles for Sunday, October 30, 2021.
Meanwhile, The Affairs of Anatol was ending its run at Grauman’s Rialto and a notice for the coming attraction of The Sheik was included in the final ads of the run. Agnes Ayres, who played Annie Elliot in The Affairs of Anatol and a fellow cast mate, Ruth Miller, who had played an uncredited role as a maid named name Marie, would both appear in The Sheik–Ayres in the lead role of Lady Diana Mayo and Miller as Zilah, the serving girl attending Lady Diana in the film. And, although Valentino’s paramour Rambova thought Hull’s novel was trash, she would appear in an uncredited role as an “Arabian Dancer.”
On Sunday, October 30, 1921, both Camille and The Sheik premiered in Los Angeles.
Los Angeles Times, Sunday, October 30, 1921, Page 61.
Camille opens at the California Theatre
A large, approx. quarter-page ad for the film (much reduced in size!) Note the small credit given to Valentino at the bottom of the ad.
Ad in the Los Angeles Evening Express, Monday, October 31, 1921, Page 25 after The Sheik premiere on Sunday, October 30, 1921.
The top billing for Ayres in The Sheik may also have been helped along by the fact that she was involved in a long-term affair with her married boss, Jesse Lasky, head of Paramount. She had started at Vitagraph in New York, but had been brought to Hollywood by Jesse Lasky sometime in 1920 to film a Civil War story entitled Held by the Enemy. After receiving glowing reviews, she was placed under contract at Paramount and her long-term relationship with Lasky began. (It would end in late 1923 when she met and married Manuel Reachi.)
Some announcements from venues where Camille had already been shown did give passing attention to Valentino. But, it was Nazimova’s film and the character he played was subordinate to her Camille. In the words of film critic Alexander Walker, Valentino was “a pliant supplicant, not a seducer, forever dropping on to one knee to signify his fidelity.” (Page 37, Rudolph Valentino).
After Camille opened in Los Angeles, a smaller ad for the film appeared in the Los Angeles Express on Tuesday, November 1, this time with no mention of Valentino at all…but the day after the premiere (Monday, October 31) on Page 24, a reviewer named Milton Lathrop did notice Valentino…and in glowing terms.
Milton Lathrop did not mention any specific scenes from the film but Alexander Walker would later note that“the earliest hint of what was to become one of his most seductive features occurs in this film. It is when he breaks the bank in a gambling casino–he’s been playing to kill the pain of losing Camille–and with a sudden, unanticipated flash of cruelty he seizes her arms, forces them behind her and pinions them there while he plants a kiss on her lips. This was the ‘cruel’ Valentino. This was the so called ‘sex menace’. This was the element of ‘threat’ in him that worked its way up the scale of romantic emotions he stirred up in the hearts of women.” (Page 37, Rudolph Valentino.) Of course, this energy is in dramatic contrast to the “dignified portrayal of the naive lover” that Lathrop had mentioned in his review decades earlier.
In the same edition, on the very next page (Page 25) of the Los Angeles Evening Express, a review of The Sheik by a different critic named Charles A. Goss appeared under the title “‘The Sheik’ A Beauty, But Oh, The Story!” He wrote:
To enjoy the production it becomes necessary to ignore the story entirely and to focus the interest upon the beauty of the settings. Vast stretches of sand waste and shifting dunes are relieved only by the cluster of palm trees that form an oasis here and there and by the picturesque caravans of the Arabian dignitaries. Those of the interior are not without charm also, for they exhibit a prodigality of luxury that recalls the tales of the "Arabian Nights."...The story however, might be the dream of a sweet young thing who had eaten too many caramels and chocolate sundaes. The subtitles, probably from Miss Hull's book, are pretty trite.
But, when Goss observed the players, his tone changed. He noted the how Valentino was without peer in the way he displayed the “shifting emotions of this young barbarian the product of the desert and of Paris schooling.” It seems Goss saw the contrast of the “barbarian” versus the “handsome” actor and the character’s underlying “Paris schooling”; without using the term “sex menace,” he sensed the “threat” versus “the allure” that attracted a female audience. He didn’t mention “popping eyes” or any other distractions that later reviews would see…he noticed the force of Valentino’s charisma.
“Valentino’s the whole show…”
…quoting a “young lady who sat nearby”
…Reviewer Charles A. Goss
Los AngelesEvening Express, Monday,
October 31, 1921, Page 25.
Until this point Valentino had made steady progress in his career. On October 30, 1921 the megastar phase of his career would begin…
The 100th Year Anniversary Blu-Ray Restoration of “The Sheik”
After some delay, the 100th Year Anniversary Blu-Ray Release of “The Sheik” will be released and available on Amazon on November 2, 2021. Pre-ordering is available. Each link below offers slightly different information about how the new release was restored and the film. .
1. Nazimova’s contract with Metro would come to an end in mid-1922. Waning popularity and differences about the types of films she would work on led to the split. She had already begun planning her production company while she was in New York at the preview of Camille. According to an essay at the San Francisco Silent Film Festival website, once Nazimova left Metro, “… the studio changed the film’s publicity campaign and gave top billing to Valentino.”
2. Gloria Swanson, Bebe Daniels, and Wanda Hawley all future co-stars with Valentino also appeared in The Affairs of Anatol. And, the role of Mr. Nazzer Singh, a Hindu hypnotist who hypnotized Gloria Swanson’s character Vivian in the film was none other than Theodore Kosloff…yes, the onetime lover of Natacha Rambova.
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."
On May 11, 1921 Rudolph Valentino wrote check No. 10008 in green ink payable to Walter M. Murphy Motors Co. for the sum of $200.00, drawn on his account at the Hollywood Branch of the Citizens Trust and Savings Bank, Los Angeles. It was signed “R. Valentino.” I have touched it only one time. It is extremely thin and the paper almost feels like fabric…so different from the stiff paper we see in our modern day checks. Perhaps time has taken its toll…100 years is such a long time ago, yet this check is part of my life now.
Interior of the Citizens Trust and Savings Bank, Hollywood Boulevard & North McCadden Place, Los Angeles, Ca, 1928
Quickly begins work on Uncharted Seas, filming during December 1920 (see this prior post for details). Meets Natacha Rambova. First formal date Christmas week, 1920 at a costume ball, Ambassador Hotel, Los Angeles.
Filming of Camille underway January-February 1921. First wife Jean Acker files for divorce, January 17, 1921. Valentino fully smitten with Rambova during this time and relationship develops. They soon begin to co-habit at Rambova’s Sunset Boulevard bungalow.
The Conquering Power begins production one week after filming of Camille is completed.
The Four Horsemen of the Apocalypse premieres March 6, 1921.
Filming of The Conquering Power completed in a few weeks by the end of March 1921. After this film, Valentino will have no work until July 1921. Money is very tight during this time.(Valentino is in debt, paying off his New York tailors for all the suits he had made to use in The Four Horsemen. During especially lean times, he hunts and eats mussels found at the beach.)
Also in March, the American edition of The Sheik, by E.M. Hull, appears and becomes an immediate success.
Jesse Lasky of Famous Players-Lasky Corporation has been negotiating the rights for Hull’s The Sheik, finally purchasing the rights for $12,500.
Valentino leaves Metro Pictures after the completion of filming The Conquering Power, following friction during filming and money issues. Valentino offered the lead role in The Sheik. Signs a 2 picture deal with an option for an extension with Famous Players-Lasky Corporation. In a letter to Adolph Zukor dated July 2, 1921, Lasky writes that he is “fortunate in getting Valentino, the remarkable boy who played the lead in The Four Horsemen” and that casting the film has just finished.
July 5, 1921…The Sheik begins production and filming ends by late August.
The Conquering Power released July 8, 1921.
Camille released September 26, 1921.
The Sheik released October 30, 1921.
What would make Rudolph spend $200.00 (about $2960.00 in 2021) at Murphy Motors while not working, paying off debts and hunting for dinner during months without income? It seems to have been the NEED FOR SPEED.
As a youth in Taranto, Italy following his stint in agricultural school, cars were a way to pass the time. He was already attracted to speed. From Emily Leider’s Dark Lover, page 36:
In her book, Rudy: An Intimate Portrait of Rudolph Valentino By His Wife Natacha Rambova, Rambova spends quite a bit of time recounting Valentino’s preoccupation with cars, commenting how “Automobiles from the first were Rudy’s downfall.” He purchased a Mercer, which was considered to be the first sports car, on installment. The Mercer Series 5 was produced between 1919 and 1922 with prices over these years ranging from $3,675 – $5,650 making it on the high end of automobile prices. (Rounding off to $5,000, for example, a Mercer bought for that price in 1921 would cost $73,988 in 2021!) There were 6 body types including sedans, with the “sports car” version often called a “Speedster” in ads. It could reach speeds of 70-80 mph. (Rambova commented that “Rudy always had expensive tastes”….)
This ad for a 1920 Sport Model shows the appeal this car would have had for Valentino.
Chicago Tribune, Sun., September 4, 1921, Pg. 82.
When his acting jobs stopped at the end of March 1921, Valentino eventually lost the car and about half of what he had put into it. So, without a car of his own, he borrowed Rambova’s Buick “runabout” which she acquired when she started working at Metro Studios sometime in 1919. The term “runabout” was going out of use by 1915 when it was replaced by the term “roadster”. The original runabouts were very light cars usually without doors, windows or roofs usually seating 2 passengers and they eventually became virtually indistinguishable from roadsters. Roadsters were more refined with concave “hoods” over the dashboard which would deflect moving air away from the front passengers. (Hooded dashboards were also found on speed cars.) We don’t know if she bought a used “runabout” or newer model “roadster” but they were quite similar in appearance although seats in the runabout were further to the rear of the vehicle than they were in the roadster. Rambova fitted her car out with extras–“mirrors, spotlights, canteens, etc.”
Whichever car Rambova owned, it lacked enough “pick-up” to suit Valentino. He scoured ads and had his connections at the studio on the lookout for a second-hand car that would meet his standards. He finally found a 1914 Cadillac, according to Rambova, which still had remnants of blue paint on the body and then campaigned to convince Rambova to allow him to trade in her runabout for the Cadillac. He even pocketed $400 on the trade. For Valentino, it was all about the motor; it had good speed even though it was not a racer–it could hit 70 mph–and it had “marvelous pick-up.” As for the body…no problem, it could be brought up to like new condition “in a week.”
And so the deal was done!
Valentino already had some experience with Cadillacs because while filming The Four Horsemen, he was ferried to the set in a Cadillac studio limousine.
The model year of the Cadillac he bought varies, with most sources, including Leider, saying the car was a 1914 model, while Donna Hill in Rudolph Valentino-The Silent Idol says it was the 1915 version. While Cadillac made models that looked very similar from year to year, there is one critical difference between these two production years. Part of the discrepancy may be due to the fact that Cadillac introduced a new engine in late 1914 for the 1915 production year.
Introduced in 1914 as the standard engine for all 1915 models, Cadillac’s first V8, the Type 51, used a 90-degree layout with three main bearings, L-head combustion chambers and water cooling...Cadillac’s initial design was a true high speed engine...the first use of a thermostatically controlled cooling system that was eventually adopted by all car manufacturers...soon earned world-wide praise for unprecedented smoothness and performance. The L-Head was on the Ward’s 10 Best Engines of the 20th century list.
1914: The last of the 4-cylinder Cadillac models. The motor was rated 40HP.
1915: New Cadillac V8 model dubbed "The sweetest running car in the world". "The ultimate in motor car engines" was the verdict of the industry's representative engineers. ...Top speed was a conservative 55-65 mph...
Trivia: On August 29, 1915, a stock Cadillac V8 drove a distance of 72 miles in 77 minutes and beat by 12 minutes the express Vandalia passenger train between Indianapolis and Terre-Haute, Indiana. On some stretches the car reached a speed of 75 mph. Remember this is 1915 and the car is a stock Cadillac!
Dropping down a body during the assembly of a 1914 Cadillac touring model which was nearly identical to the 1915 version.
A restored 1914 Cadillac…looking very similar to Valentino’s car.
But, note some of the differences in the photo below which are found on Valentino’s car: the custom trim, the glass windscreen in front of the passengers, and the location of the small “spots” located over the front fenders.
According to Evelyn Zamaya in her book Affairs Valentino (page 78), Valentino would work on the car during lunch hours during the final days of filming The Sheik. Rambova relates in her memoir that “he worked untiringly on the transformation of this ugly duckling, fitting it out with two strong “spots” on either side of the windshields, a cigarette lighter on the driving board, and many other improvements all installed by himself.” These other improvements included mirrors, a custom trim and, as Rambova comments, “After a good coat of black paint–egg-shell finish–and much polishing of the nickel trimmings, it really didn’t look so bad.” However, she reported that the car would break down at “the most inopportune moments,” which Valentino brushed off as being something that happened with powerful motors. And and it also guzzled oil and gas. But…for Valentino, it was a REAL car…
And here is something truly amazing: We can actually hear what Valentino heard when he started the engine! Watch these videos on Youtube:
It’s quite something to hear this engine running and imagining Valentino working on it, 100 years ago.
This brings us back to the check written to Walter M. Murphy Motors. Murphy Motors was founded in 1920 in Pasadena, California as a dealer for Simplex automobiles. It added Leland Lincolns to its roster and then Duesenbergs. The “coach building” aspect of Murphy’s Motors began as an unplanned aside. Basically, the company started to change the top and paint on the Leland Lincolns because Murphy’s clientele thought the original designs were not modern or flashy enough and because he thought the engineering of the Lincolns was poor. Murphy bought equipment and brought in staff from the New Jersey-based Healey and Company and by 1922 began making a name among wealthy clients, which included industrialists, movie stars and car aficionados, by building custom bodies on top of the basic chassis of many brands.
Murphy is known to have built on Bentley, Bugatti, Buick, Cadillac, Cord, Crane-Simplex, Doble, Dorris, Essex, Ford, Hispano-Suiza, Hudson, Isotta- Fraschini, Lincoln, Locomobile, Marmon, Mercedes-Benz, Mercer, Minerva, Packard, Peerless, Pierce-Arrow, Rolls-Royce and Simplex chassis, but they are most famous for their work on the Duesenberg Model J. Source: Coachbuild.com, The Coachbuilders Encyclopedia
It seems logical to assume that Valentino wrote this check on May 11, 1921 for $200.00 to buy parts from the Walter M. Murphy Motors Company that he needed for his restoration work. It is quite likely that he would have asked for advice and perhaps would have some work like the new paint job and custom trim done by the company itself.
So, today marks the 100 year anniversary of the day Rudolph Valentino went over to Pasadena to an auto business, bought parts, chatted about his treasured second-hand Cadillac, and then went home to work on it…
And the proof of how he spent that day is in the check…
NOTE: An image of the check is now posted in the My Memorablilia/Book Collection section of this blog.
1. Valentino’s used Cadillac was apparently gone by the time of his death in August 1926. In the list of estate items in auctioned off only the following vehicles are listed: the 1925 Isotta Fraschini; the 1925 Avion Voisin; a 1926 Franklin Coupe; a 1925 Chevrolet Roadster, and a 1922 Ford Truck. Source: Allan R. Ellenberg, The Valentino Mystique. page 182.
2. A photo of the showroom of Walter M. Murphy Motors which was relocated in to West Colorado Avenue, Pasadena in 1920. Photo ca. 1927.
Walter M. Murphy Motors, 285 West Colorado, Pasadena, ca. 1927.
Listing for Early Auto-Related Properties in Pasadena, California
American companies (which came to be concentrated in southern Michigan) along with their European counterparts would often ship their high performance chassis to New York and Los Angeles were there was a strong market for luxury cars.6 Local custom coach builders would then complete the automobile according to the individual taste of the patron. One such company was the Walter M. Murphy Motor Company of Pasadena.Walter M. Murphy came from a Detroit family that had made its fortune in lumbering. An uncle, William H. Murphy was a stockholder in Henry M. Leland’s Cadillac as well as a backer of Henry Ford’s early automotive ventures. Before entering the custom body5 Peter Ling, America and the Automobile: Technology. Reform and Social Change. p. 127.6 Duesenberg, Lincoln, and Cadillac were the first American made luxury cars able to compete with the European imports such as Mercedes and Rolls Royce. business, Murphy sold Simplex and Locomobile cars. In 1920, he moved into new facilities at 275-85 West Colorado Boulevard and became the California distributor for the new Lincoln luxury car. He expanded into the body business as a result of the Lincoln’s poor engineering and conservative styling. After Lincoln was acquired by Ford in 1922, Murphy turned to building custom bodies for a variety of luxury car chassis at his Pasadena plant at 37-55 North Vernon Avenue (now St. John Street); however, Murphy built more bodies on Duesenberg chassis than any other coach builder in the United States. Murphy’s forte was in designing convertibles and roadsters.
Section F: Associated Property Types Page 18-19 Automobile showrooms are significant under criterion B if they are associated with individuals who pioneered and/or innovated the automobile sales business in Pasadena. Walter Murphy, for example, was one of the most significant figures in the history of automobiles in the United States. He was a nationally recognized leader in the sale and manufacturing of luxury automobiles, including Lincolns and Duesenbergs.
Rambova, Natacha. “Rudy: An Intimate Portrait of Rudolph Valentino by His Wife Natacha Rambova.” News Clippings of the Life of Natacha Rambova & Rudy Valentino with Complete Transcript of her Book. Middletown, Delaware: Self-published, 2021. (book available at Ebay, ISBN 9798565516371)