The sixth episode of the Brownlow-Gill silent-film documentary, "Hollywood," profiles two of the greatest stars of the silent era: Gloria Swanson and Rudolph Valentino. Unfortunately, the twin mini-bios contain little new material, and each segment plays like a glossy entry in the "Hollywood and the Stars" or "Biography" series. Any opportunity to tie the two careers together and make a statement about stardom during the silent era was lost. However, "Swanson and Valentino" is still worth watching, if only for the interviews with Gloria Swanson, Alberto Valentino, Allan Dwan, and Ben Lyon.
Viewers unfamiliar with her autobiography, Swanson on Swanson, will discover that Gloria Swanson began her career in Mack Sennet comedies, although she claims not to have understood the jokes. Unhappy as a straight woman to comics, Gloria teamed with Cecil B. DeMille, who transformed the petite actress into a glamorous star with such films as "Male and Female;" that 1919 film includes a scene with Swanson and a lion, which the actress discusses at length and reveals why, despite the risk, she was insistent on filming it. Unwilling to continue as a clothes horse, Swanson proved herself an actress in two films by Allan Dwan, "Zaza" in 1923 and "Manhandled" in 1924; Dwan describes filming the famous subway scene in "Manhandled," in which Swanson endures a chaotic rush-hour ride. Restless at Paramount, Swanson completed "Stage Struck" in 1925 and then left to join United Artists. However, sound was fast approaching, and her career encountered some bumps. After the success of "Sadie Thompson," she had a disaster in 1928 with Erich von Stroheim's "Queen Kelly," which was never seen in the U.S. Ironically clips from that film appeared in Swanson's best-remembered role as the faded silent film star, Norma Desmond, in Billy Wilder's "Sunset Blvd." in 1950. Adela Rogers St. Johns summed up Gloria Swanson thus: Gloria did not do what others did, she did what she wanted to do, and others followed her.
Rudolph Valentino's life is arguably more familiar from biographies and films than Swanson's, although myths abound, and Valentino's brother, Alberto, attempts to set the record straight. Valentino came from a comfortable Italian family and arrived in New York at age 18. Initially a male taxi dancer in a café, he went to Hollywood, where he was typecast as gigolos and villains. However, cast a Julio in Rex Ingram's 1921 adaptation of "The Four Horsemen of the Apocalypse," Valentino used his dancing skills to tango his way to stardom. Although a star as Julio, Valentino's smoldering performance in 1921's "The Sheik" made him a sensation with female audiences, but earned disdain from males. However, after his marriage to Natasha Rambova, Valentino's films and popularity were negatively affected by his wife's effete influence. With films like "Monsieur Beaucaire," his career faded, while his marriage faltered. Although his 1925 film "The Eagle" was a success, depression and money problems ensued. While Valentino had a sure-fire hit with 1926's "Son of the Sheik," a perforated ulcer later that year led to peritonitis and an early death at age 31; footage of the hysterical mobs at his New York funeral and the parade of stars at his Hollywood funeral illustrate the immense popularity of silent stars; Ben Lyon adds a fascinating footnote about Pola Negri's attempt to insert herself into the funeral with a white floral blanket that included "Pola" spelled out in red roses.
The interviews, film clips, and reminiscences ensure that the two short biographical episodes are worthy viewing. However, some analysis to connect the two bios and comment on stardom during that era would have added value. While there is no question that Swanson and Valentino were among the biggest stars of the era, others rate equal attention: Clara Bow, Charlie Chaplin, Greta Garbo, John Gilbert, Mary Pickford, and Douglas Fairbanks. "Swanson and Valentino" is a good episode in the "Hollywood" series, but missed opportunities and overly familiar material place it among the lesser entries.
Viewers unfamiliar with her autobiography, Swanson on Swanson, will discover that Gloria Swanson began her career in Mack Sennet comedies, although she claims not to have understood the jokes. Unhappy as a straight woman to comics, Gloria teamed with Cecil B. DeMille, who transformed the petite actress into a glamorous star with such films as "Male and Female;" that 1919 film includes a scene with Swanson and a lion, which the actress discusses at length and reveals why, despite the risk, she was insistent on filming it. Unwilling to continue as a clothes horse, Swanson proved herself an actress in two films by Allan Dwan, "Zaza" in 1923 and "Manhandled" in 1924; Dwan describes filming the famous subway scene in "Manhandled," in which Swanson endures a chaotic rush-hour ride. Restless at Paramount, Swanson completed "Stage Struck" in 1925 and then left to join United Artists. However, sound was fast approaching, and her career encountered some bumps. After the success of "Sadie Thompson," she had a disaster in 1928 with Erich von Stroheim's "Queen Kelly," which was never seen in the U.S. Ironically clips from that film appeared in Swanson's best-remembered role as the faded silent film star, Norma Desmond, in Billy Wilder's "Sunset Blvd." in 1950. Adela Rogers St. Johns summed up Gloria Swanson thus: Gloria did not do what others did, she did what she wanted to do, and others followed her.
Rudolph Valentino's life is arguably more familiar from biographies and films than Swanson's, although myths abound, and Valentino's brother, Alberto, attempts to set the record straight. Valentino came from a comfortable Italian family and arrived in New York at age 18. Initially a male taxi dancer in a café, he went to Hollywood, where he was typecast as gigolos and villains. However, cast a Julio in Rex Ingram's 1921 adaptation of "The Four Horsemen of the Apocalypse," Valentino used his dancing skills to tango his way to stardom. Although a star as Julio, Valentino's smoldering performance in 1921's "The Sheik" made him a sensation with female audiences, but earned disdain from males. However, after his marriage to Natasha Rambova, Valentino's films and popularity were negatively affected by his wife's effete influence. With films like "Monsieur Beaucaire," his career faded, while his marriage faltered. Although his 1925 film "The Eagle" was a success, depression and money problems ensued. While Valentino had a sure-fire hit with 1926's "Son of the Sheik," a perforated ulcer later that year led to peritonitis and an early death at age 31; footage of the hysterical mobs at his New York funeral and the parade of stars at his Hollywood funeral illustrate the immense popularity of silent stars; Ben Lyon adds a fascinating footnote about Pola Negri's attempt to insert herself into the funeral with a white floral blanket that included "Pola" spelled out in red roses.
The interviews, film clips, and reminiscences ensure that the two short biographical episodes are worthy viewing. However, some analysis to connect the two bios and comment on stardom during that era would have added value. While there is no question that Swanson and Valentino were among the biggest stars of the era, others rate equal attention: Clara Bow, Charlie Chaplin, Greta Garbo, John Gilbert, Mary Pickford, and Douglas Fairbanks. "Swanson and Valentino" is a good episode in the "Hollywood" series, but missed opportunities and overly familiar material place it among the lesser entries.