Tuesday, October 4, 2022

..."et non Andre Daven"... and not Andre Daven

I share the definitive documentation regarding the identification of Rene Clair (see previous post). Although it has been mistakenly labeled as being a photo of Andre Daven in Deauville, this is false. It is left to right: Rolph de Mare, Valentino and Rene Clair... both men who were in Deauville with the Valentinos.  

Regarding the fact that this person on Valentino's left is René Clair; this has been verified by the Iconographic section of the Cinémathèque Française. (see e-mail below)



This (above) is the response to Renato's request for clarification on the identity of the person at Rudolph Valentino's left. The curator of the image sector replied with the following message:

Bonjour Renato,

Après vérification des différents portraits que nous avons de René Clair nous vous confirmons que c’est bien lui qui est sur la photo et non André Daven.

En espérant avoir répondu à votre demande…

Restant à votre disposition,

Bien cordialement,

xxxxxxxxxxx

***

(English translation of the verification e-mail)

Hello Renato,

After checking the different portraits we have of René Clair, we confirm that it is him who is in the photo and not André Daven.

Hoping to have answered your request ...

Remaining at your disposal,

Best regards,

xxxxxxxxxxx


Friday, September 30, 2022

The Catalan Natacha Today

It is interesting news to hear that the Natacha Rambova documentary I worked on with the Mallorcan producers will be shown today in such a beautiful setting in Spain.

https://en.wikipedia.org/wiki/Vilassar_de_Mar


The producers of this documentary requested a great deal of material from Michael Morris' archive which I shared with them over the two years they were working on this film. I was also interviewed and sent video additions to my interview which they requested. 

I chose not to appear personally in the film for the following reason. 

Just before Michael Morris passed away in 2016,  Ms. Maria Salome contributed her entire collection of photographs and Rambova archival materials to him for his book, Beyond Valentino...She was also interviewed for this documentary. Some things occurred between the production crew and Ms. Salome which she took exception with. 

I was informed about this from the English gentleman William James, who discovered Ms. Salome and who wrote the fine article on Rambova and the Spanish Civil War included in Beyond Valentino. He said Ms. Salome wanted nothing to do with or any affiliation at all with the project and this put her contribution of her Rambova collection to Michael in jeopardy. 

I dearly wanted to finalize the Mallorcan materials and I chose to maintain a loyalty to Ms. Salome at the time. I believe Michael would have done the same and considered the historical content priority over a personal appearance. 

Nevertheless the producers included a wonderful acknowledgment of my book Astral Affairs Rambova and credited Michael and I, etc.

This said, for the record I take a certain exception with their inclusion of a local Mallorcan... who with no documentation or much argument at all... disputes Michael's telling of Natacha's reason for and details of her exile to France during the war. 

The events as Michael reported them in Madam Valentino were told to him by Natacha's family, her cousin Ann... and it was odd the documentary's producers chose to tamper with that. But all in all I was happy to participate despite the ups and downs. And it is great to see respectful, quality films about Rambova being made. 


Thursday, September 29, 2022

Their Aesthetic

The aesthetic of Rudolph Valentino and Natacha Rambova in a visual thread, for your enjoyment. 




Costume Design rendered by Natacha Rambova

Natacha Rambova's jewelry and passport which she left with Maria Salome's parents in Mallorca when she fled to France. 


"The Happy Lovers", by Gustav Courbet, 1844.

Here's to more light, love and laughter. 💓


Wednesday, September 28, 2022

Revival Craze Income

I wrote about the 1938 revival of Rudolph Valentino's films in Affairs Valentino – Special Edition, pp. 227-228. I referenced this in the book to point out that Jean Valentino, then having inherited the estate, reaped substantial reward from Rudolph's films. ($10,000 a week box office returns by today's exchange rate would be $193,600.00 a week) The most popular and highest grossing of Rudy's revival films was The Son of the Sheik and I share this article (below) from the day. 

By 1938, there was a new generation of movie goers and its an intriguing aspect of Valentino's life and afterlife to contemplate his effect of that first generation. Were the audiences filling the theaters in 1938 to see The Son of the Sheik young people or their parents? 

I own a copy of the 1938 Life magazine (shown in the image below) which I will find here and also share. I paid $50.00 for it many years ago and probably got ripped off. But I had to have it and it was a rainy San Francisco day, in a comic book shop and there it was...I would have paid a lot more actually. I know copies of that issue are not rare at all but hey... I have mine. 

My original interest in the revival of Rudy's films was in pursuit of the documentation and truth about the settlement of the estate and subsequent income issues. It was then I came across the profits for the Valentino estate/Jean from the revival in 1938. Obviously those distributing the films in 1938 would have taken their percentages, but as desperate as Alberto tried to make it all look financially.. they were not counting pennies in 1938.


*podcast is recorded, and solutions being set up to ensure a safe place for the fascinating comments you send in to this blog. I do not share the residue of the hater's bombardments here because it is never wise to acknowledge a child throwing a tantrum. At least in my experience. 


Tuesday, September 27, 2022

Everyone is Noticing

I just found these two little screenshot clips and had to share. Because while "they"... including Mr. Simon Constable, continue to mock us for not being mentioned on their forums saying it is because our books have no merit.. they do this (see below). Do they believe no one is noticing? I think it is real obvious why our books do not get mentioned there. i.e.

I had to wonder when I read this just now what they fear? If our books were nothing but garbage as they try to tell people, then what is the big deal? And if someone told me not to read a book, I would buy it in a heart beat. 

This warning from this awful young man passed to a forum follower... had to do with our publication of the English translation of the French Valentino biography by Jeanne De Recqueville. Renato translated it with my assistance and we felt it was an important book to make available to an English speaking audience. Here is why.

For a long time "they", spearheaded by Mr. Simon Constable alleged that in De Recqueville's book, there was proof Valentino was gay. I knew this was a complete lie and in fact DeRecqueville delved into the subject definitively proving Valentino was not gay. Why did I know that?

Because I read the book back in 2003. Michael Morris told me Ms. DeRecqueville's book was worth reading despite it being in French. I took his advice and I add the book is used as a reference in every Valentino biography since De Recqueville's publication. 

With Mr. Simon Constable spreading innuendo implying De Recqueville was a source to support the gay hoax,  it was then we felt... a translation needs to happen. And it did. 

So Mr. Simon Constable was instrumental in having that book out in another language so people could fact check what he was saying. It was as simple as that. He was obviously not pleased being thus exposed and targets his fury at us by spreading more defamation and lies about us on his Facebook page. 


My initial response would be to inform Mr. Simon Constable and his followers who might have read that... that we do not steal. 

And to translate a book is not "appropriating it for profit" and this is just Mr. Simon Constable implying through innuendo that we are disreputable people. 

And for the record, we bought the cover image which is cited thusly in the translation of the book: 

"The image on the front cover of this book is reproduced with permission from Picture Lux, The Hollywood Archive, Alamy Stock Photo, 1921 Paramount Pictures from The Sheik."

So Mr. Simon Constable's blatant smear of our good names online is defamation. I say this according to the definition provided to us by the judge who handed down the verdict in my victorious lawsuit v. David Bret.. and I would hope everyone reading sh*t like this about Renato and I from this tight little group of cyber defamers...would be as furious as we are when we see it. 

We need a retraction on that last warning Mr. Constable put out there. And thank you to whomever you are who asked him about the book only to have that spit back at them. I say run for the exits. 

I call Simon Constable out and ask him why he fears our books so very, very much that he would lie and defame us like this online? Makes me really... not wonder. 

More Regarding My Frank E. Campbell's Visit

 * I wrote the following some time around 2004:

Finding the Sarcophagus of Rudolph Valentino

The interview had all the elements of a scene right out of an Alfred Hitchcock movie: a Peter Lorre look-alike mortician turned archivist; tastefully blacked out mortuary windows and air sickeningly sweet with a mother lode of fresh blooms awaiting the morning’s funeral. In search of details on Rudolph Valentino’s death I had traveled a long way for the interview. So in spite of the macabre setting and the fact that the gracious archivist was far too welcoming for my comfort, I forged on. Perhaps my uneasiness was due to the chilling fact he was employed by a vast corporation proudly billing themselves as the “world’s largest death-care provider.”

At some point during the interview I was asked if I’d ever heard of Valentino’s second coffin. The archivist explained it had long been rumored within the funeral business that an outer casket encased Valentino’s coffin on the train ride from New York to Los Angeles. I said I knew nothing about an outer casket and asked why such a case would have been used. He told me that in order to transport a corpse across state lines, coffins were required by Federal law to be encased in a sarcophagus or shipping case. Urban legend had it that Valentino’s shipping case had been custom made for the journey and was believed to still be in existence. Unfortunately the archivist had no idea where the case was located but said he would make a few phone calls to see what he could find out.

For a little while after that interview I had no clue my piqued interest in Valentino’s shipping case had sparked the imaginations of several morticians and inspired a covert operation to capitalize on the missing shipping case. But within the next few weeks the intrigue surrounding the location of the case and the identity of the owner became so intense I began to wonder if I would ever see it. The archivist called me several times to update me on the status of the search for the case. He also asked me what I thought the cash value of such a piece could be. Smelling the rat, I told him I didn’t have the slightest idea of its monetary value or interest in anything but its history. He assured me he was close to locating the case and its owner. Believing him I prepared to move as soon as I was given any go ahead. I assumed I would make a quick trip to wherever, snap a few pictures and have my story. Instead I soon landed squarely in the middle of heady negotiations for the sale of the shipping case and risked my neck for a glimpse of Rudy’s mythical sarcophagus.

About a month after the interview I opened an e-mail from “the world’s largest death-care provider” to see photographs of a metal coffin loading onto the screen. While the images were downloading I received a call from the archivist with news that this was indeed Valentino’s shipping case. Furthermore he’d found the owner and secured permission for me see the hidden treasure. I told him I thought the piece should be authenticated by an expert and once again asked him for the owner’s contact information. With this he said he would get back to me and hung up. I would have to be content with nothing more than the thrilling photographs for a while longer as the recovery of the photographs did not immediately result in permission to see the case first hand.

Access to the actual case was complicated as the archivist made his power play to position himself as the only broker in any possible deal the shipping case’s owner might make. Granting new meaning to the word cagey, he brainstormed an elaborate but thinly constructed system of communication to guarantee his role. I was asked not to call him at work, to only call a second contact he put me in touch with, to use only this cell number and that e-mail, etc. and was never given the owner’s name. As he began his methodical and territorial watch over the artifact the welcoming host who greeted me in his mortuary office a few months earlier morphed into double agent OO-archivist.

He informed me the owner had decided it was high time to sell the shipping case. But the archivist had run into a snag by telling a few too many of his cronies about his exciting development. With the revelation of the case’s impending sale everyone along his growing chain of contacts soon began scheming for their cut of the sale. The archivist was thoroughly dismayed at this turn of events and lamented to me about it over the phone. He was so distressed and paranoid at the deteriorating status of his gambit I could almost hear the sweat beading on his forehead.

Ignoring the cloak and dagger, I called the cell phone of mystery contact two and was at long last given an address where I could view the case. I quickly scheduled travel arrangements and hopped a plane. Within a few hours I had landed, rented a car at the airport and was following my usually unreliable MapQuest directions to the designated address.

Par for the course in this shipping case caper the address was that of a mortuary situated deep in some primo skid row real estate. It was the kind of neighborhood no prudent soul would dare cross without a police escort. Nevertheless it was easy to imagine a time when the establishment could have been surrounded by a more Mayberry-like backdrop. But on the morning of my appointment the streets were alive and humming with meandering prostitutes, homeless campers, and wild-eyed, ranting desperados.

Having arrived a few minutes early I made a quick dash into a nearby MacDonalds for a sorely needed cup of coffee. No predictable Micky Dee safe zone was to be found that sunny morning. After noticing that several of the tables had been burned black in an apparently substantial blaze and that the disheveled, armed guard posted in front of the counter was swaying, I made what I hoped would be a subtle retreat to my rental car. I failed miserably only to be followed through the parking lot by a squirrley eyed teenager. At this point I made the executive decision to spend the remaining few minutes before my private viewing of Rudolph Valentino’s long lost shipping case sipping my coffee in the safety of the rental car driving around the block.

While I was dodging jay-walking crack addicts, inside the mortuary the bronze and copper casket was being dragged out of its warehouse storage for the first time in seventy seven years. Like a great vessel run aground the case was so cumbersome it took three mortuary workers to heft the unwieldy bark onto a mortuary gurney. They had their orders to have the neglected relic on display in one of the mortuary’s private chapels by nine o’clock sharp. Just before the hour they wheeled the shipping case into the small sanctuary, lifted off the heavy cover and propped it against the wall.

It was up to the floor mortician that morning to oversee the arrangements in each of the mortuary chapels and it was during his inspection of the shipping case installation that he noticed an inscription on the casket’s tarnished lid. After retrieving a can of brass polish from his office he began to wipe away the years of neglect. The inscription read, “Rudolph Guglielmi, Rudolph Valentino, Born May 6, 1895 Died August 23, 1926.” The mortician found the inscription curious because his name also happened to be Rudolph.

Mortician Rudy had just finished his brass polishing when I arrived. He escorted me into the side chapel off the lobby where the gurney had been parked in front of several rows of church pews. After months of anticipation, I paused to appreciate the point blank impact of the moment. The e-mailed photographs had done it no justice.

The case was in extraordinary condition, masterfully constructed and appeared to have been completely hand made. The delicate beads of solder were so expertly placed I was sure some jeweler in 1926 must have labored an eternity in its execution. In his best professional whisper mortician Rudy left the chapel telling me to take my time. He didn’t seem sure why I was there and probably wondered why I would come so far to sit in a church pew paying my respects to an empty casket.

I was there to document the objet d'art and as soon as he departed I got down to work. The case was mine to investigate and inspect from all angles so I set up my tripod and took a quick twenty or thirty photographs. I brushed my hand along its dusty interior and examined the detailed tooling of the handles. Scratch marks from the transport of Valentino’s interior coffin were still evident. The mortician had polished the cover of the case to a brilliant shine and I noticed Guglielmi had been misspelled.

Staring into the long metal box it was hard not to visualize its cargo of long ago. It was in this case Rudy’s lifeless body jostled along the rails on his last ride home to California. I felt no subtle twinge at that thought and at the evidence before me of the brutal honesty of Valentino’s death. And after months of negotiating access to view the shipping case I was suddenly gripped by the desire to pack up my briefcase and camera and get as far away as I could from the grisly find.

I stopped by Mortician Rudy’s office on my way out to shake his hand and thank him for his time. Before I left I decided to have a stab at it and asked him directly if he could give me the owner’s name. Apparently he had not been briefed on the subterfuge preventing me from knowing the identity of the case’s owner. For with no hesitation he jotted down the man’s name and phone number. I thanked him again, dashed back to the rental car, and headed off to the airport and home.

When I placed the call to the case’s owner, he granted me a stilted interview but was slightly confused as to how I got his number and assumed I was an interested buyer. I finally had the story and photographs but it would be awhile longer before I could make any graceful exit from the thorny subject of the shipping case.

Like any other artifact pertaining to Rudolph Valentino, from the moment the case was uncovered its cash value increased with each passing day. I attempted to avoid the line of fire by refusing phone calls and repeatedly saying I had no knowledge or further interest in the case. But the negotiations originated by the archivist continued to complicate as his fellow morticians and serious collectors contemplated forking over a small fortune for the funereal jewel. When last I heard the archivist was hopelessly mired in the deal that had “gone south”. By then I had long since backed out any role in the fracas, thankfully with my story intact.

When I downloaded the photographs of the shipping case, my fifteen year old daughter brought one thing to my attention. To my practical eye she pointed out what appeared to be a circular reflection over the casket. For the past few years she has been fascinated by and an avid student of spectral photography. After reviewing the mortuary photographs she issued her expert analysis and declared the perfect orb drifting in the space above Valentino’s shipping case definitive evidence of ghostly presence. Not wholeheartedly believing her claim, I kept an open mind but secretly found the whole idea appealing. Ghost or no ghost, as far as I was concerned leaning into Valentino’s open sarcophagus was the disturbing end to an utterly disquieting tale.

I since initiated the shipping case’s authentication by an expert and it has been verified through photographs of Valentino’s body as it was unloaded at the train station in Los Angeles. According to records I uncovered during the case’s verification its original cost was $900. This would be about $9000 today. Two other charges were added to the original cost of the shipping case; a mechanic was paid fifteen dollars to solder the base and an engraver was paid 25$ to misspell Rudy’s name on the cover.

The unexpected appearance of this artifact confirms there are still treasures to be found and new stories to be told about Rudolph Valentino which reveal a trail not quite cold. I share the sentiment of the expert who validated the shipping case and agree it should find its way into a Hollywood Forever Cemetery showroom to be viewed by the public. It is more likely that it has already been secreted away with the rest of Rudy’s earthly residue and held in a private collection.

Monday, September 26, 2022

What If

Comments are off for a while so I can finish the podcast. Thanks all for understanding. I am prouder than ever right now about my trip way back when to Campbells. Someone pointed out to me that if someone thinks I forged the documents, it must mean what I discovered was so sensational they refused to believe it. So there you go. It worked out. 

The sarcophagus caused some problems but I bowed out of that and learned a valuable lesson. But all in all it was a profitable trip and I met up with family there and had a great time in the "Big Apple". Meanwhile some more of my Instagram graphics with a nod to Campbells. 




Sunday, September 25, 2022

Putting It Into Perspective

I think of all the documents I photographed in Campbell's this one (below) was the most surprising. It has been and still is often reported George Ullman did not pay for Valentino's funeral, that he left the bill unpaid, etc. Well this is the documented fact; he paid it in full in two payments. The first payment on August 26, 1926 was for $10,000.00 and he paid the balance of $1,087.10 in ten days.

To put this into perspective; according to dollartimes.com, the exchange rate for one U.S. Dollar from 1926 to 2022 is times $15.58. This means that Valentino's Campbells' bill today would have been $172,737. 01.

S. George Ullman paid the bill and this document proved that. Many of the Campbells' documents are included in Affairs Valentino with more posted on our website:

https://www.rudolphvalentino.org/the-campbells-documents