23 Sahara Knights

The Never Made Films of Rudolph Valentino

During Valentino's career there were a handful of films he came close to making, yet never did.  Below is a list of these films.

 

 

*The Spanish Cavalier (1923)

After filming The Young Rajah, Famous Players-Lasky had this film all ready to go for Valentino.  They announced it as part of their lineup, put director Allan Dwan on a weekly salary, and expected Rudy to show up and act. 

 

However very upset with the way Famous Players had treated him during his bigamy scandal refused to show up for work.  Adding to these insults Famous Players had promised his next Spanish film would shot on location in Spain, and if not there then at least in New York (where Natacha was forced to live during the 1 year until they could legally remarry).  Instead Famous Players insisted on shooting in Hollywood.  Valentino refused and started his one man strike. 

 

The script was eventually rewritten for Pola Negri and Antonio Moreno, given the title "The Spanish Dancer".  June Mathis wrote the script.

 

*Romeo and Juliet (1922-1924)

Valentino was approached to do this film on a few occasions.  Romeo and Juliet was THE film everyone in Hollywood wanted to make, but no one did (during this time) as exhibitors insisted they would not show any Shakespeare film.

 

Rudy was to play Romeo, while his Juliet would have either been Norma Talmadge or Mary Pickford.  The Pickford version never seems to have gotten off the ground, while the Talmadge version was impossible as the production was to occur during Valentino's "One Man Strike", which would not allow him to legally work in film until it was settled.  Either way it would have likely been produced via United Artists.

 

*Quo Vadis (1923)

While on strike from Famous Players-Lasky, and visiting his home country for the first time since he immigrated, Valentino was offered a chance to film in Italy by production company Cines.  The project they wanted him for was a remake of Quo Vadis.  Valentino turned down the role of Nero to return and take care of his obligations to Famous Players-Lasky.  Later Emil Jannings took the role intended for Rudy.

 

*The Hooded Falcon (1924-1925)

This was Rudy and Natacha's pet project.  Signing with Ritz Carlton the couple had released Monsieur Beaucaire and A Sainted Devil to complete their obligation to Famous Players-Lasky.  The Hooded Falcon was to be THE artistic film, with Natacha writing the script, creating the costumes and sets, and picking the cast and crew.  Eventually other people would take over most of those roles.  Originally they hoped to film in Spain, and later New York.  Eventually the whole production wound up in Hollywood.  The story was set in Spain, with Valentino playing a Moorish Nobleman, and Nita Naldi playing a Moorish Princess.

 

Natacha's script wasn't up to par, so June Mathis was brought in.  A very busy woman at the time she wrote the script quickly and Valentino, Rambova, and the cameraman all felt it wasn't up to par.  George Ullman delivered the news to Mathis, who immediately broke off all contact with both Valentino and Natacha.  She wouldn't speak to Valentino again until a preview screening of Son of the Sheik in Santa Monica, probably in May or June 1926.

 

The Valentinos headed to Europe, to acquire costumes and 'research' the film.  Nita Naldi who was to be the leading lady was fitted for costumes in France.  There they spent close to $100,000 on frivolous things and costumes, while Ritz Carlton had only given them a budget of $40,000.  Valentino grew a beard for his role.  It caused a roar of publicity when they returned to America with barbers threatening to boycott him if he kept the beard.

 

Ritz Carlton insisted they begin work on a quickie film "Cobra" to keep Valentino's name out in the spotlight.  Much of the cast and crew for Cobra was borrowed from The Hooded Falcon.  A young designer named Adrian was hired to do the costumes, his very first Hollywood assignment.  He'd go on to be one of the biggest designers in film, designing the red shoes for Wizard of Oz.

 

With Cobra finished The Hooded Falcon sped out of control.  A cast had been formed which included Sally Long, Dorothy Revier, Emily Fitzroy, Anthony d'Algy, Hector Sarno, and Gustav von Seyfferititz.  Harry Fischbeck was set to be Cinematographer and William Cameron Menzies eventually was chosen for set design.  Joseph Henabery was original set to direct but eventually Natacha chose Alan Hale.  Ritz Carlton vetoed the idea as he was an actor with little directing experience.  The Hale argument became the breaking point, with Ritz Carlton finally pulling the plug on the project.  $150,000 had already been spent...most of that in Europe.

 

*The Bronze Collar (1925)

When Valentino signed with United Artists this film was chosen for him.  The story was about a Spanish bandit in early California.  However Clarence Brown, who was set to direct, thought it too small for his comeback so it was vetoed.

 

*The Flame of Love (1926)

Il Fuoco (The Flame of Love) was a novel by Italian writer and poet D'Annunzio.  Valentino hoped to have Francis Marion adapt it for the screen, but instead she was given the task of writing a new Sheik movie.

 

*The Silver King (1926)

According to George Ullman Valentino's final passion was "The Silver King" a play by Henry Arthur Jones and Henry Herman.  He wished to make it as his follow up to Son of the Sheik but Ullman noted most at UA were not as thrilled with it as he was.

 

*Cellini Project (1926)

After Son of the Sheik Valentino considered working on a biographical film of all around Italian renaissance man  Benvenuto Cellini.  Vilma Banky would not be available so every actress from Greta Garbo to Dolores Del Rio was mentioned as a possible leading lady.  Eventually Estelle Taylor was chosen for the role.  George Fitzmaurice would direct.  It seems this very well may have been his follow up to Son of the Sheik, had he lived.

 

 

Roles Rudolph Valentino was passed over for: a Mexican Bandit in Scarlet Days, Lennox Sanderson in Way Down East (1920).