Valentino is
still one of the best known names from the silent era even among people
who have never
seen any of his films. The image of the oppressive,
dated latin lover is the dominant one though as if Rudy had only made
the two Sheik films and nothing else. I believe he laid the groundwork
for actors like Ronald Colman, Errol Flynn, Tyrone Power, Charles Boyer
etc.
Seen today a few of Valentino's films may seem a bit melodramatic and
even comic. When he wasn't playing a
cliched lover Valentino could be a fine actor, his face and gestures
were perfect for the silent screen, he conveyed so much with tiny lifts
of the eyebrows. In all of his films there are moments of greatness, he
was a fine light comedian but could also be menacing.
He was at his best when he made fun of
his image as in The Eagle (1925) or when his presence wasn't the whole
show as in The Four Horsemen of the Apocalypse (1921). I've always
viewed Valentino's first major film as more of an ensemble piece than
the others I've seen : despite his hypnotic tango director Rex Ingram
had as much to do with that film's success and style as anyone.
To be brutally frank Valentino
didn't make many films which rose above the hokey romantic melodramas
of the time and he knew it himself. He was a trailblazer in fighting
Paramount for better scripts quitting the studio and going on a
personal appearance tour with his wife Natasha Rambova. Rudy was a
great dancer and they re-enacted the tango scene from The Four
Horsemen. Valentino was offscreen for about a year and made his last
films at United Artists : The Eagle (1925) and Son of the Sheik (1926).
His influence was huge as the first of the great continental lovers of
the screen : I don't think any of his successors in the latin lover
mould were as good actors or made the same impact onscreen even Ramon
Novarro.
Listen
to Valentino sing in a recording from 1923 :
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