a mini fansite dedicated to the life & legacy of silent film actor, rudolph valentino

welcome ~


Hello & welcome! Site is currently under construction 😉 Put on your hard hat and know that I’m working diligently to get this place into tip-top shape. Only the best for Mr. Valentino! Please have a look around with the patience and understanding that building/updating a website is tedious and tiring work sometimes!

- admin

Last updated: 19 January 2022

happy new year!

HNY, everyone! How is it 2022 already? Wow. I just wanted to say that I’ve had many projects, Valentino-related and otherwise, that I’ve been working on… which has slowed down my efforts in getting the site completed. Rest assured that I’ve not forgotten! Just trying to spread around my time on said projects. :) If you visit, thank you for visiting. If you read, thank you for reading. Truly, sincerely, thank you!

- admin

Posted: 19 January 2022

plans for a desktop site in the works?

With the creation of this mobile site, valentin-ohmygod, I’ve been toying with the idea of launching a full, desktop fansite. It’s only an idea right now, I don’t actually know if I’m going to do it. But it’s tempting. Translating the contents of this mobile site to desktop format would be very simple, so you never know… ☺️

Stay tuned…

- admin

Posted: 26 November 2021

about the man

Full name:

Rodolfo Alfonso Raffaelo Pierre Filibert
Guglielmi Di Valentina D’Antonguolla

(Phew! ❤️)

(spelling per

Stage name(s):

Rudy spelled his name many different ways over the years, but, of course, the main spelling that stuck, is Rudolph Valentino. Check the filmography tab for all alternate spellings - I included them there, as I find the variations amusing.

• He preferred people address him simply as “Rudy.” His friends did so.


• “The Latin Lover”
• “The Great Lover”
• “Valentino”

Date of birth:

06 May 1895

Place of birth:

📍Castellaneta | Italy


• Italian-born American
• half Italian (father), half French (mother)

Languages spoken:

Rudy fluently spoke English, Italian, French, and Spanish. It’s possible he spoke other languages as well. (As if he could be any sexier!)

Date of death:

23 August 1926 (age 31)

Location of death:

📍New York City, NY | USA
Polyclinic Hospital

Cause of death:

On 15 August 1926, Rudy collapsed at the Hotel Ambassador in Manhattan (NYC). After an examination, he was diagnosed with appendicitis and gastric ulcers. Surgery was performed. After surgery, Rudy developed peritonitis (inflammation of abdomen/organ lining). There was hope Rudy would pull through, but he developed pleuritis (inflammation of lung lining). He later fell into a coma, and eventually contracted sepsis (severe systemic infection). These conditions are all fairly treatable today, but seeing as this was the year 1926, antibiotics were not yet available (they would come just two years later, in 1928).

Rest In Peace, Italian prince. 🌹

Burial place:

📍Los Angeles, CA | USA
Hollywood Forever Cemetery

* Buried next to June Mathis, American screenwriter. Mathis discovered Rudy, and was a friend & matronly figure to him. At the time of Rudy’s passing, he hadn’t secured a final resting place of any kind. Mathis, having purchased plots in a mausoleum for herself, her mother, and her husband (who she later divorced), offered the available plot for Rudy. It was only meant to be a temporary solution, as a memorial space was to be erected, but plans did not materialize. He remains beside Mathis today (she died not quite a year later, in 1927).

Zodiac sign (sun):


Zodiac sign (moon):


Zodiac sign (rising):



Information regarding Rudy’s height varies. His WWI draft card is easily accessible via, and, on it, his height is recorded, “medium.” I actually found some measurements online (blog) from a respectable tailor who fitted him in 1925. Said measurements would place him at about 6 ft. I personally think he looks a tad shorter - around 5’9” or 5’10” - pretty standard height for a very unique man 🥰

Eye color:

dark brown
(per his WWI draft card)

Hair color:

(per his WWI draft card)

Facial markings:

• scar on right cheek
(acquired playing with father’s razor at age 5)

• small mole on left cheek, near nose <3

Other occupations:

(to be edited)


[1] Jean Acker
m. 1919 | d. 1923

[2] Natacha Rambova
m. 1923 | d. 1925

filmography ✺

• Films with an asterisk (*) indicate that they have been lost/partially lost.

• Character Name | How Rudy was credited

* The Battle of the Sexes (1914)

* only a fragment of the film survives

US: 12 April 1914

dance extra | uncredited

* My Official Wife (1914)

US (NYC): 13 July 1914 (premiere)
US: 25 December 1916 (re-release)

extra | uncredited

* La Corsara (1916)

(Italian film)

Italy: 01 January 1916
Sweden: 14 August 1916

unknown character | unknown credit

* The Quest of Life (1916)

US: 25 September 1916

extra | uncredited

* The Foolish Virgin (1916)

US: 26 September 1916
Hungary: 22 January 1917
France: 26 December 1919

extra | uncredited

* Seventeen (1916)

US: 02 November 1916
US: 13 October 1918 (re-release)
Denmark: 22 December 1919

extra | uncredited

Patria (1917)

* partially lost

US: 06 January 1917 (premiere)
US: 14 January 1917

extra | Rudolph Valentino


* Alimony (1917)

US: 03 December 1917

dancer | uncredited

A Society Sensation (1918)

* only a 24-minute re-issue survives, original cut was 50 minutes

US: 23 September 1918
US: February 1924 (revised version)

Dick Bradley | Rodolpho De Valentina


All Night (1918)

US: 30 November 1918
France: 05 December 1919
Denmark: 25 April 1924

Richard Thayer | Rodolfo di Valentina


A Married Virgin (1918)

US: December 1918
UK: 31 March 1924

Count Roberto di San Fraccini | Rodolfo di Valentini


The Homebreaker (1919)

US: 04 April 1919 (premiere)
US: 20 April 1919
Sweden: 26 January 1920

dance extra | uncredited


A Delicious Little Devil (1919)

US (NYC): 13 April 1919
US: 12 May 1919
France: 14 May 1920
Denmark: 18 April 1921
Portugal: 03 February 1922

Jimmy Calhoun | Rudolpho De Valintine


Virtuous Sinners (1919)

US: 25 May 1919
UK (London): 06 May 1920

small role | Rodolfo di Valentini


* The Big Little Person (1919)

US: May 1919

Arthur Endicott | Rodolpho De Valentina

* A Rogue’s Romance (1919)

US: 09 June 1919

Apache dancer | Rudolph Volantino

Out of Luck/Nobody Home (1919)

US: 24 August 1919
Sweden: 04 October 1920

Maurice Rennard | Rodolph Valentine


The Eyes of Youth (1919)

US: 26 October 1919 (premiere)
US: 30 November 1919
France: 14 January 1921
France: 27 June 1924 (re-release)

Clarence Morgan | Rudolfo Valentino


An Adventuress (1920)

* only 39-minute re-issue survives

US: 10 April 1920

Jacques Rudanyi | Rodolph Valentino


* Passion’s Playground (1920)

US: April 1920
Denmark: 20 March 1922
Portugal: 17 October 1924

Prince Angelo Dello Robbia | Rudolph Valentine

* The Cheater (1920)

US: 07 June 1920
Denmark: 02 June 1924

Extra | Rudolph Valentino

* Once to Every Woman (1920)

US: 06 September 1920
France: 17 June 1921

Juliantimo | Rudolph Valentino

The Wonderful Chance (1920)

US: 27 September 1920

Joe Klingsby | Rudolph de Valentino


Stolen Moments (1920)

* only 35-minute re-issue survives, original cut was 6 reels

US: December 1920
Denmark: 19 October 1923
Japan: 09 October 1925

Jose Dalmarez | Rudolph Valentine


The Four Horsemen of the Apocalypse (1921)

US (NYC): 06 March 1921 (premiere)
Canada: April 1921
Japan: May 1922
UK (London): 14 August 1922
Australia: September 1922
Ireland: 08 January 1923
Denmark: 06 February 1923
Portugal: 31 March 1923
Italy: 16 April 1923
Hungary: October 1923
Finland: 02 December 1923
US: 02 October 1926 (re-release)
France: 05 October 2011 (restored version,
Grand Lyon Film Festival)
US: 29 May 2014 (San Francisco Silent Film Festival)

Julio Desnoyers | Rudolph Valentino


alternative link for Four Horsemen

incredible HQ from


* Uncharted Seas (1921)

US: 25 April 1921
Denmark: 28 August 1922

Frank Underwood | Rudolph Valentino

The Conquering Power (1921)

US: 08 July 1921
Sweden: 10 January 1923
Denmark: 10 April 1923
Finland: 18 November 1923
Portugal: 18 May 1925
Ireland: 21 June 1929 (re-release)
France: 07 January 2020 (limited)

Charles Grandet | Rudolph Valentino


Camille (1921)

Armand Duval | Rudolph Valentino



The Sheik (1921)

US (Los Angeles, CA): 30 October 1921 (premiere)
US: 20 November 1921
Austria: 1922
Germany: 1922
UK (London): January 1922
Sweden: 09 October 1922
Norway: 10 October 1922
Denmark: 06 November 1922
France: 01 December 1922
UK: 25 February 1924 (re-release)
Finland: 16 March 1924
Finland: 18 September 1938 (re-release)

Sheik Ahmed Ben Hassan | Rudolph Valentino

~ ~ ~ My first Valentino film 🥰 I don’t recommend The Sheik be your first Valentino film, as it (imo) doesn’t display Rudy’s full versatility and talent as much as some of his other works. Still great, I just don’t recommend for your first!


alternative link for The Sheik

incredible HQ from


alternative link for The Sheik



Rudy and actress Agnes Ayres for “The Sheik”

Moran of the Lady Letty (1922)

Ramon Laredo | Rodolph Valentino



Beyond the Rocks (1922)

* found in 2003

US: 07 May 1922
Canada (Regina, Saskatchewan): 05 June 1922
Denmark: 23 April 1923
Finland: 02 December 1923
France: 07 December 1923
Italy (Milan): 30 March 1925
Netherlands: 26 May 2005 (restored version)
US: 05 October 2005
Greece: 19 November 2006
(Thessaloniki International Film Festival)

Lord Bracondale | Rodolph Valentino


alternative link for Beyond the Rocks

incredible HQ from


Rudy and actress Gloria Swanson for
“Beyond the Rocks”

Blood and Sand (1922)

Juan Gallardo | Rudolph Valentino



alternative link for Blood and Sand

incredible HQ from


The Young Rajah (1922)

Amos Judd | Rudolph Valentino



Rudolph Valentino and His 88 American Beauties (1923)

This film was made while Rudy was on strike. He was frustrated with the way he was being treated by his studio, Famous Players-Lasky. So, he walked out.

Not having filmed a movie in a while, along with having various expenses that needed paying, resulted in this film.


alternative link for 88 Beauties

incredible HQ from


Monsieur Beaucaire

Duke de Chartres/Beaucaire | Rudolph Valentino



* A Sainted Devil

The stills from this film are incredible, so this one especially hurts. I desperately hope that it will be found one day!

Don Alonzo Castro | Rudolph Valentino

The Hooded Falcon

Project of Rudolph and his wife, Natacha Rambova, that never panned out. Film was never made - concept stills were taken, but no movie footage was shot.

unknown character | unknown credit

The Eagle

Lt. Vladimir Dubrovsky | Rudolph Valentino



alternative link for The Eagle

incredible HQ from


Rudy and actress Vilma Banky for “The Eagle”


Count Rodrigo Torriani | Rudolph Valentino



The Son of the Sheik (1926)

US: (Los Angeles, CA): 09 July 1926 (premiere)
US: 05 September 1926
Sweden: 11 October 1926
Denmark: 25 October 1926
UK: 15 November 1926
Finland: 18 November 1926
Hungary: 23 May 1929
US: 08 October 1937 (re-issue version)
Norway: 24 October 1938 (re-release)
Uruguay: 05 April 1939
Hungary: 22 July 1939 (re-release)
Slovenia: 01 September 1939
West Germany: 21 February 1988 (TV premiere)
US: 20 September 2014 (San Francisco Silent Film Festival)
US: 10 May 2015 (Maryland Film Festival)
US: 18 May 2015 (restored version,
Seattle International Film Festival)

Ahmed/The Sheik | Rudolph Valentino

Rudy’s last film before his untimely death at the age of 31. Rest In Peace. 🌹


alternative link for The Son of the Sheik

incredible HQ from


Rudy and actress Vilma Banky for
“The Son of the Sheik”

Q: Why were so many of Rudy’s films lost?

Sadly, many silent films - not just those Rudy starred in - are lost. Per Wikipedia, the largest cause of silent film loss is intentional destruction. (It’s honestly shocking, I know! 😢) Before the era of television and home videos, films were viewed as having little future value after the end of their theatrical run. Similarly, films were perceived as worthless after the end of the silent era (sound era).

Per, fire doesn’t account for all silent film loss. Films were junked as valueless in the sound era, mislabeled, etc.

✺ [source] ✺

RV filmography - IMDB

✺ [source] ✺

RV filmography - Wikipedia

✺ [source] ✺

Welcome to My Magick Theatre (blog)

✺ [source] ✺

RV filmography -

✺ [source] ✺

My own notes & research 😆


Many more to come! I have to sort and upload them 😉 Stay tuned!

His eyes speak volumes…

Brilliant smile ☺️

Rudy’s smoldering expressions in “The Son of The Sheik” are devastating 😩👌❤️

For “The Young Rajah” 🤤💘

For “Blood and Sand.” Epic photo.

Rudy’s second wife, Natacha Rambova, introduced him to the occult. They participated in séances and things. Anyway, Rudy believed one of his spirit guides to be a Native American chief named Black Feather. Here he is dressed as him.

I love everything about this photo, haha. Rudy helping with makeup (sweet), the cigarette in one hand, hovering just above the actor’s hair lol. Like, what could go wrong?

Also, Rudy’s ARMS 😍

For “Beyond the Rocks.” I’m convinced that if Rudy had ever played a vampire, he would’ve done a damn good job of it! And THIS would’ve been the perfect look!

Let’s get fit, y’all ☺️

For “The Eagle”

Classically handsome

Lucky camel 😆 He/she looks like they’re smiling, so cute 🥰 I mean, I’d be smiling too if Rudy had his big strong arms around me! 😜

The man loves his camels!

I think this is a concept photo for either “Blood and Sand,” or “The Son of the Sheik.” Not 100% certain, I could be wrong altogether.


For “Blood and Sand”


Day Dreams

by Rudolph Valentino

How You Can Keep Fit

by Rudolph Valentino

My Private Diary

by Rudolph Valentino

Valentino as I Knew Him

by S. George Ullman


An Intimate Portrait of Rudolph Valentino by his wife Natacha Rambova

by Natacha Rambova

Dark Lover:

The Life and Death of Rudolph Valentino

by Emily W. Leider


“An American may speak love with his lips;
the Italian must say it with his eyes.”

(And that he did!)

“June. June Mathis. No, no one else, ever. She gave me my start.
She first, of all people, believed in me.”

“Women are not in love with me but with the picture of me on the screen.
I am merely the canvas on which women paint their dreams.”

(Oh Rudy, I beg to differ - we definitely ARE in love with you!)

“The part I like best was my role in ‘Blood and Sand’. If I had died,
I would have liked to be remembered as an actor by that role—
I think it my greatest.”


• had an Irish Wolfhound named Centaur Pendragon, and an Alsatian Doberman named Kabar (Centaur Pendragon?! So nerdy, I love it!)

• came to America in 1913, at age 18

• had a scar on his right cheek - acquired it playing with his father’s razor when he was 5.

a good, close-up view of Rudy’s scar ❤️

• brought the Argentine tango to America

• wrote a poetry book called “Day Dreams”
(Check the links tab to read it online!)

• was powerfully psychic and spiritual, had an avid interest in spiritualism, participated in séances and automatic writing sessions - believed his spirit guides to be the following:

- Black Feather (Native American chief)

- Meselope (Ancient Egyptian)

- Jenny (When Rudy became ill, he called out for a “Jenny.” His second wife, Natacha Rambova, claimed Jenny was the name of one of his spirit guides. She was met with skepticism.)

what did valentino sound like?

Seeing as Rudolph Valentino was an actor during the silent era, it’s easy to wonder: what did his voice sound like?

Unfortunately, there are no known audio clips of Rudy speaking. And, he passed away just a year before the first feature length film included sound - a film called “The Jazz Singer.” 😢

But! He DID record two songs! Yes, your speaking voice and your singing voice can be quite different, but this is something! Apart from these two songs, all we have to go on are interviews from his family members (to compare pitch, accent, things like that), as well as various descriptions given by those who knew him.

I’ve linked both songs below. They’re beautiful, but very old, and very delicate - please keep this in mind while listening. 🙏 Enjoy~!

coming soon

O Gladness shining bravely
From out the eyes of youth,
Be strong in your belief of good,
Of valor and of truth.
For soon enough,
Too soon enough—
The gladdest light meets doubt,
Then flickers, flutters, just a bit,
But, doesn’t quite go out.

O Sadness peering divinely
From out the eyes of age,
Be strong in your belief of good.
To youth—still be the sage.
For soon enough,
Too soon enough,
The saddest light in doubt,
Flickers, flutters, flickers,
And finally goes out.

— “The Sage,”
from Rudolph’s poetry book,
“Day Dreams”

6 o’clock already ♡ i was just in the middle of a dream ♡ i was kissin’ valentino by a crystal-blue italian stream

the bangles ⇢ “manic monday”

How I Play A Love Scene by Rudolph Valentino

Screen star reveals method by which he succeeds in creating the illusion of passionate love before the camera

An interview with Alma M. Talley

“Feeling and not acting is what lifts a love scene from commonplace to the realms of realism and romance.”

— Rudolph Valentino.

How does he do it?

When Valentino casts those amorous glances into the upturned eyes of the leading lady and makes all the fan hearts flutter, do you ever wonder how he does it? How, as the saying goes, he gets that way?

We thought you might want to know—we knew we did—so we asked him.

Mr. Valentino was sitting in the editorial office of Movie Weekly editing this issue when we interrupted him to ask the fateful question. He wore a gray suit, and gray clocked socks to match, a platinum chain on one wrist—a Latin custom—and a wrist watch on the other. Yes, fans, he has the slight scar on his cheek that so many questions are asked about, though we hadn’t the nerve to ask him how he got it—even to please Our Public. He speaks with only a slight accent, in the impeccable English well-bred foreigners always use because they learn the language correctly. There! We’re all out of breath answering your questions.

“There’s a momentous question the fans would like to have answered,” we began timidly, approaching the Great Presence. “When you play those hectic love scenes, how do you do it?”

“How do I do it?” he echoed. “Why, the character I am playing does it—it is not myself at all.” We were a little crestfallen. Here we had been all agog to acquire a little technique to use on the other sex.

“Explain,” we insisted.

“I am always embarrassed when I am asked how I play a love scene,” he remarked, though he didn’t look embarrassed. “All I can say is that from the start of the picture I disassociate myself from the character I am to portray and live and love as I imagine he would. While I am making a picture, I cease to be Valentino and become the character I am playing, until the picture is finished.”

“Even at night?”

“Yes, all the time. I always prepare to play a role by first reading the book from which the scenario was adapted. Just reading the script isn’t enough. One needs to get more thoroughly acquainted with the character, to see and feel him as the author feels him. Before making Blood and Sand, I read the book in Spanish—so much of the spirit of a book is lost in translation—and as I read I identified myself with Gallardo. So that by the time we began work on the picture I felt thoroughly in the character of Gallardo. I found myself constantly using his gestures and mannerisms, even after I left the studio at night.”

“But isn’t that rather a nervous strain?” we suggested. “Most persons relax completely at night and forget their work—at least they should.”

“Creative work is not like that,” he reminded us. “If you were writing a novel, would it ever be out of your mind for long? No, you would be planning it, living it, until the novel was finished. It is so with a character I portray in a picture. And when the love scene comes along, it is the character who plays it. I think, as in Blood and Sand—‘I am Gallardo, and I love Dona Sol’; in projecting myself into another personality I can feel his love for this woman.”

“But doesn’t the love scene thrill you?” we ventured. If it doesn’t thrill Valentino himself, he’s the only one immune!

“Gallardo was thrilled, but not Valentino. If Gallardo were not thrilled, the scene could not be sincere. It would not seem real to those who watched.”

additional blurbs:

“When I have just finished playing a love scene,” said Mr. Valentino, “I find that it has used me up emotionally.”

Rudolph Valentino making ardent love to Nita Naldi in “Blood and Sand.” Observe his technique, Boys!

[a photo of Rudy and actress Nita Naldi in a scandalously-close embrace accompanies this text]


• This article is originally from a publication called Movie Weekly, dated 11 August 1923. The cost: 10 cents!

• Transcribed by valentin-ohmygod ♥️

A famed actor recalls the ‘magnetismo’ of the legendary Latin Lover

By Gilbert Roland

We cannot turn back to so little as yesterday. But remembering Valentino, I return to the days when I was a Hollywood movie extra at $3 a day and box lunch, and lived in a small room on Temple and Olive Street next to a synagogue. I covered the somber walls with photos of movie stars, and by a crucifix over the bed, my boyhood idol—Rudolph Valentino.

We cannot shun our destiny. What God has written will come to be. And it was to that one day I would meet Valentino. His real name was Rodolpho Alfonso Raffaello Pierre Filibert Guglielmi de Valentina D’Antonguolla. He selected Rodolpho Valentino for the screen. Friends called him Rudy. We, the young bohemian movie extras, penniless, undefeated romanticists, called him—Valentino.

He arrived in Hollywood, broke. Emmett Flynn gave him his first job as an extra at five dollars a day. Rex Ingram, a great director, selected him for Julio in “The Four Horsemen of the Apocalypse,” and Valentino was a star. After the success of “The Sheik,” he became the great Latin Lover—Valentino was humble in success, yet a man misunderstood. An editorial writer for a Chicago paper called him “a pink powder puff.” Valentino went to Chicago and angrily challenged the writer openly to a duel or fist fight. The challenge was not accepted.

Valentino had dignity, wore elegant English clothes, made bow ties popular, drove fast cars, was a hard-riding horseman, and loved women. We imitated his graceful walk; grew sideburns, pomaded our hair a la Valentino. He grew a beard and it became fashionable. Barbers were alarmed, protested and begged him to shave it off. He introduced the platinum slave bracelet. We wore cheap imitations. He made the tango popular. We danced with beautiful girls who called us—Latin Lovers—a sobriquet we did not contradict.

He was a man of charm, magnetismo, the power to attract, captivate. He brought romance to the screen, and to millions of women. Valentino filled an emptiness. The Heartthrob. Women fainted. I saw him at the El Capitan Theatre in Hollywood. Women screamed hysterically to touch him. They stormed the theater with a vengeance, like the Bastille. It was like a page out of the French Revolution.

Central Casting called for Spanish and Mexican extras to report at Paramount Studio, $3 a day and box lunch. Over a thousand of us were hauled into trucks and driven through the narrow dusty Cahuenga Pass to Lasky Ranch. The picture—Blood and Sand. The star playing the matador—Rudolph Valentino. My father had been a famous matador from Spain. It is an art to be properly dressed for the arena. Often in Mexico I had helped my father. A Spaniard, Jarita, the technical adviser, demanded Valentino to be perfectly dressed as a matador, and knew my background.

He took me to Valentino’s dressing room on the lot. “This boy will help you dress,” Jarita said politely. Valentino smiled, shook my hand, and I trembled. He stood naked, a towel around his trim bronzed body, the slant eyes, a scar on his cheek like a saber cut. I helped him into the taleguilla, the pink stockings, red sash, zapatillas, chaquetilla… All through the ritual he sat motionless, silent, his eyes far away. A tear rolled down his cheek. He brushed it off, lit a cigarette, and walked away.

During lunch a violent fight erupted between the extras. Someone stuck me with a banderilla, and there was blood. Valentino sat under a shady tree with his lady love, exotic Natacha Rambova, as I went by. He saw the blood, cleaned the wound, wrapped his monogrammed handkerchief around my hand and gave me a glass of wine. The lovely lady smiled… the courtesy, gallantry, chivalry of the great; all these things not here anymore. I treasured Valentino’s handkerchief a long time. Then a lovely blonde girl came along and went off with it.

The last time I saw Valentino he was driving the Isotta-Fraschini fast along Sunset Boulevard. I raced my old secondhand Moon Roadster to catch him. I wanted to wave to him. I kept going faster, the car rattling, then a motorcycle cop gave me a ticket for speeding. I appeared in court before Judge Chambers, expecting to pay a fine, but the judge sentenced me to five days in jail. And I never saw Valentino again. Destiny.

But we had a few things in common. We were both Latins, proud of our heritage. We had worked as extras, busboys, been hungry, loved classical music, believed in God. He has slept on a park bench in New York, I on a church bench in Los Angeles. We loved America, became citizens. We were athletic, healthy. We did not believe in drugs or medicine. We drank good wine, and loved women. On the screen we played the same romantic role of Armand Duval in Dumas’—Camille. He with Alla Nazimova. I with Norma Talmadge.

One day he died. He was 31. His death plunged America into a nation of mourners. Women wept with unashamed tears. Two killed themselves that day; a day of vertigo, delirium. A dolorous whisper stunned the land. “Valentino is dead.” The whisper made the heart ache.

After his death I was lauded as one of his successors. A Hollywood weekly heralded: “Gilbert Roland Looms As Valentino’s Successor!” It was absurd. An infamy. No one could replace Valentino. He was not cast of an ordinary mold. This was sacrilege. I resented it. It gave me the coraje (English: courage), that rage I’ve had all my life about injustice. For this was injustice. There could never be another Valentino.


• From 22 November 1975 issue of TV Guide

• Credit to Hollywoodland
( for the text

Moran of the Lady Letty

A review, by Yours Truly.


The wealthy and Spanish Ramon Laredo (Rudy) has grown tired of being around fellow social elite. His days have become routine, predictable. The pretentiousness of his lifestyle doesn’t suit his desire - his craving - for adventure.

One day, when Ramon’s plan was to meet with friends for a yacht outing, he winds up being lured away, drugged, and kidnapped instead. When he comes to, he finds himself aboard Captain Kitchell’s ship, and is forced to work for crooked Kitchell.

When the crew finds a sinking ship, Ramon manages to rescue a “man” from said ship, while everyone else is only worried about loot. Turns out, this “man” is actually a woman (Moran) who is dressed down. When Kitchell learns of Moran’s identity, he becomes even more of an azz (lol) than he already was. Ramon must battle Kitchell for Moran’s honor.

initial thoughts

I’d honestly held back on crossing this Valentino film from my watchlist, as the title (imo) isn’t exactly catchy. At least, not as much as some of his other films. So shallow of me, I know, but it’s true. Whenever I’d read the title, I’d have no clue, not an inkling, what it could be about. Moran? Lady Letty? Are these people? Am I stupid? Generational/dated confusion?

Answer: I’m stupid. Moran is an Irish name. It translates from the Irish language as “big,” or “great,” which is fitting for the leading lady: Moran. She’s a good strong character, as evidenced by her ability to be kissed and ever-so-softly touched by RUDOLPH VALENTINO without bursting into flames (a feat I could never conquer).

Sidenote: I’m of Irish ethnicity, which makes my obliviousness all the more palpable. +5 stupid points!

btw: Lady Letty is the name of a ship. Moran literally runs a tight ship, while wearing - gasp - slacks! So daring! So ~scandalous~!

no, really, think about that

A strong female lead, who’s recognized by those around her as a great sea(wo)man. And she wears slacks. In 1922.

Ya gotta love it!

taking the plunge

My Valentino withdrawal symptoms were relentless, my heart yearning, begging for more of his incredible chiseled face on my screen. He’s crack, I tell you. I finally decided to give Letty a spin…


My friends, this film is why they say to never judge a book by its cover! Moran of the Lady Letty is so CUTE! And I don’t say that disparagingly! Rudy would absolutely cringe at the thought of someone regarding his work as being “cute.” It’s actually so much more than that, but it WAS cute too. My mind specifically conjures up images of sweet moments shared between Moran and Ramon (Rudy’s character). Him gently brushing her arm… sigh. Such moments were really very thrilling (I need to get out more)!

this made my eyebrows raise

as well as my blood pressure

(Rudy’s arms, roping in water)

well, that’s problematic…

So, we gotta take a moment and discuss Chopstick Charlie, because OH BOY, said character - and the way his title cards were written - did not age well.

(see below)

Yeah. Told you it was a doozy. ALL of his title cards were written like this. It WAS 1922, but that’s no excuse.

Charlie also buys a gift for Moran: a skirt, to take her from “frumpy tomboy” to a “desirable woman,” because 1922 😩 Apparently, it would’ve been outrageous had Moran worn slacks for the WHOLE movie. We wanna be progressive here, not plain reckless! /sarcasm

He’s a sweet character but they did him dirty

in conclusion

Moran of the Lady Letty is such a fun movie! To say it’s a swashbuckling good time would be cheesy. But it really is a swashbuckling good time! An entertaining adventure, an escape from the monotony. Exceeded my expectations, and even included a pinch of romance! Rudy was pretty tame in this, but he IS Valentino, so there was definitely caressing of the romantic sort.

This could be a spoiler, but it really shouldn’t be: at the end of the movie, Moran and Ramon share a sweet kiss on the top deck. Crew members are heading back from land to board ship when they stop short, noticing the lovebirds having a moment. They then snicker amongst themselves, one man remarking that it appears Ramon wasn’t expecting anyone back yet. Something about that scene, I don’t know, it just translated so well. I

Something about that teeny tiny little scene translates so well today. It’s a comedic

Sure people were no different than they are current day but something about scenes like that just blow my mind. It’s why young people should give classic cinema a chance.

That end scene translates so well into today. It’s mind blowing for me when that happens lol (comment from crew that he wasn’t expecting us back yet)


I hate rating things - too much pressure. How many stars am I basing my rating on? 5? 10? Are we doing a percentage score like Rotten Tomatoes? Oh this is too much. Just watch the dang movie!


The Sheik

A review, by Yours Truly.



initial thoughts


in conclusion


star rating

see for yourself

The Eagle

A review, by Yours Truly.


initial thoughts

I’m sorry, but I can’t even be bothered to write out my initial thoughts on this one. I was just so taken by it immediately that I don’t even care what my initial thoughts were 😂

in conclusion

star rating

You know we don’t do those around here. SO GOOD. Romance, OFF THE CHARTS. Action and stunts OFF THE CHARTS. It feels cheapening to say that Rudolph Valentino was hot, but his hotness: OFF THE FREAKIN’ CHARTS.

see for yourself

i have so many feelings for this film

Generally, I’ve been diving into every Valentino film completely blind. I don’t usually read a summary or anything, I just search the movie and hit play. This lead to me being pleasantly surprised when watching The Eagle, and I’ll explain why.

Prior to watching The Eagle, I had seen The Son of the Sheik, in which I completely fell in love with the Valentino/Vilma Banky pairing. OMG. I’m in love with them. Forget looking for a husband, I’ll just marry them. Can you marry a fictional couple? Okay, now I’m just being weird. ANYWAY…

What should we call them? Vanky? Vilentino? Bankentino? Ah, I’ve always been crap at this. Okay, back to the review.

I saw that Rudy worked on more than one occasion with actress Vilma Banky.

about me

This site is all about Rudy, but in case you were wondering…

Hello, world! I’m the admin here at valentin-ohmygod! That’s a fancy “title” meaning that I sit on my phone and fangirl over Rudolph Valentino, lol. Creating this website has been so much fun - I hope you’ve been enjoying your stay. 🥰

So, introduction. Right! My name is Brandi - hi, hello! I’m 31 years old, born & raised in the Washington DC metro area, United States.

I’ve always had somewhat of an interest in silent films, but didn’t know a whole lot about them, much less where to start. One thing I knew for sure, however, is that I freaking love Cecil B. DeMille’s “The King of Kings.” Wow, that film is so good. I came across it by chance late one night many years ago, really good. It signaled to me that I needed to learn more about the silent era, but again: where to start?

Enter Rudolph Valentino. I had Googled a list of silent film actors because honestly, I wanted to know who was hot back then 😜 I wanted some names, so I could search filmography and start watching. I was immediately drawn to a photo of this fella named Rudolph Valentino. Huh. Catchy name. VERY handsome. I noticed his birth and death years were close together… too close…

This led me to Rudy’s Wikipedia page, where I learned of the manner in which he had passed. I was immediately devastated for what he had gone through. Him being 31 years of age when he passed, and myself currently being 31 years of age when finding him is sobering. A little eerie, too.

I’m very intuitive, so I wanted to see if, by looking through some of Rudy’s pictures, whether or not any impressions about him would come to mind. I felt right away by how handsome he was that he must’ve been a man who really wooed ALL of the women in his day. It doesn’t really take intuition to guess that, but anyway… 😉

… it was then that I learned how Rudy was nicknamed “The Latin Lover,” and “The Great Lover.” I giggled to myself over the accuracy of my thoughts and feelings. It’s crystal-clear by his photos how he so easily stole hearts. He was gorgeous. But, watching his films? Wow. Really takes everything to the next freaking level. I went from “Wow, this man is attractive” to “WHERE HAS HE BEEN ALL MY LIFE?!”

In other words, Rudolph Valentino stole my heart too. Instant obsession. Sure, he was born around the same time as my great-grandparents, but who cares - he’s timeless!

I’ve been feeling a mixture of emotions since finding Mr. Valentino. Joy because of the many amazing things he created during his tragically short time on Earth. Smitten because of his good looks. Heartstrings not only tugged, but ripped out of my chest because of the devastatingly sweet & sensual romance and charm. Utterly destroyed at the thought of what could have been had he not passed so young. Nostalgia for a time I’ve never lived through, and heartache over someone I never personally knew.

Yeah. ❤️ So here I am! I hope I’m doing right by you, Rudolph.

thank you for visiting!