September 5th, 1916

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The location of the incident, the second, farther upper awning, across the road, in 1915.

It’s time to finally tackle the arrest of Rudolph Valentino in 1916. Perhaps the oddest and most impenetrable of all of the odd and impenetrable incidents in his 31 years. And an occurrence so awful, and unforgettable, that it would haunt him for the rest of his short life. Here, then, without delay, is: September 5th, 1916.

During a 2017 research trip to New York I made an amazing discovery. At the end of my stay, I found myself in a large, dusty, and surprisingly chaotic, forgotten-looking room. I’d been advised to visit the seventh floor of the typically solid Manhattan building by a very helpful member of staff at the New York Public Library. In going there, they said, I might be able to find a record of a private prosecution I was sure had been instigated in 1924. After slowly and patiently looking under the right letter in the ancient index (which appeared untouched for decades) I drew a blank. Just one of those things when you’re researching. Sometimes you win and sometimes you lose.

Stood there, it occurred to me I should try to see what I could find under the letter G, or V. (G for Guglielmi and V for Valentino.) Closing the wooden drawer I’d been looking in, I went first to V, where I found nothing. Switching to G, I was Third Time Lucky; as there, staring back at me, on old, but pristine thin, yellowed cards, were the details of a series of Supreme Court prosecutions, actioned in 1917, by none other than Rodolfo Guglielmi, against varied publications and publishers at that time: Star Company, Inc., Sun Print & Pub. Assoc. and Tribune Assn, etc. (Amazingly there were four variations of his name: Rudolfo, Rudolf and Rodolefo being the other three.)

After securing photocopies of the cards I hurried over to the place where I could access the Supreme Court Clerk’s Minutes; hopeful that they would contain some information. There, however, I hit a bit of a brick wall. Files were very much off-site. An order had to be placed on a Friday at the front desk. Once an order was made it took between 3 to 5 business days for the paperwork to arrive. And the next day – you’ve guessed it – was my final full day in the USA.

1917

I waited almost 12 months to see the material – the third person I asked to access it on my behalf did – but it was absolutely worth it. Within the ancient files was a wealth of never-before-published documents, detailing what was happening, up to, on, and beyond that fateful day. Contained, were the accusations against him in 1916; his claims against all of the different titles and their publishers, in 1917; their respective counter arguments that same year; and, most valuable of all, a typed transcript, of a seriously in-depth interview with Valentino, from 1920. However, before we delve deeply – and we will delve deeply – into the sensational contents, let’s look at the reports about the apprehension of Rudolph Valentino.

060916

It was on September 6th, 1916, that Americans in practically every major state in the country, read of the arrest, the previous day, of two New Yorkers: Rodolfo Guglielmi and Mrs. Georgia [sic] E. Thym. Most of the pieces were repetitive. A fake Italian Nobleman, and an older, grey-haired woman, had been “arrested” at 7 a. m. and taken into custody for questioning. Their capture had been made possible due to information provided by an un-named gentleman at Narragansett Pier (at Rhode Island). They had been, it was reported, apprehended to assist with an investigation. And the pair had provided some valuable intelligence.

Other news titles went into greater detail. Such as the New York Tribune, which printed a lengthy, two column report, on Page Four. “District Attorney Smith” had conducted an early morning vice raid, it said, at: “… a house on Seventh avenue, just below Central Park…” Rodolpho [sic] Guglielmi and Mrs. Georgia [sic] E. Thym had been “brought out of the place” and: “… held [on] $10,000 bail by Judge Rosalky in General Sessions, as material [witnesses] against Detective William J. Enright…” (Det. Enright was “under indictment for accepting bribes” (or protection money) from brothels.)

Lord_1920
Frank A. Lord in 1920.

Further, on “arrival at the District Attorney’s office” “the ‘Marquis'” had asked to contact a friend. Calling “Police Headquarters” and asking for Frank Lord, Second Deputy Commissioner, he apparently said: ‘I’m in bad Frank; I wish you’d come down and help me out.’ When quizzed that evening – the 5th – at the Prince George Hotel, by a reporter, Frank A. Lord dismissed the detained man’s claim that they had dined in: “… the domino room of the Cafe L’Aiglon, in Philadelphia.” Lord admitted to being acquainted with “the Marquis” but only in the company of others. Saying: ‘This afternoon he called me on the telephone and said he was Rodolpho [sic]. I didn’t know him until he finally said he was Miss Sawyer’s dancing companion …. I told him I was unable to help him.’ (The Deputy Police Commissioner is a person of interest that we’ll return to later.)

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District Attorney (Judge) Edward Swann.

The “bogus count or marquis” – he’d confessed to masquerading as an Aristocrat – was: “… handsome …. about twenty years old, and [wore] corsets and a wrist watch.” (He was 21 by this time.) In addition: “He was often seen dancing in well known hotels and tango parlors with [Bonnie Glass] and Joan Sawyer.” And had, it was revealed: “… made statements which, if true, are of immense importance in [the] investigation.” according to the District Attorney (Judge) Edward Swann. (Pictured above.) When asked by the New York Tribune if anyone of social significance was involved, or if he intended to have raided “the ten vicious resorts named by [the] Narragansett Pier society man”, or if there was any evidence against the “resorts”, Swann was vague. All of the men and women involved, he answered, weren’t in the Social Register; he would act only when there was ‘ample evidence’; and he was unable to ‘go into’ what evidence they already had at that time.

Vice raids weren’t uncommon that year in the United States. Input the words Vice Raid into the search box of any decent online newspaper archive and story after story will confront you. Important, I think, is the fact there was a great deal of unhappiness with the way in which vice squads were often entering a property without a warrant. That there was serious over zealousness on the part of squad members and their superiors is proven several times. For example, the entry into the home of Mrs. Rose Kennett, by two policemen, Howes and Elliot, reported on THE WASHINGTON HERALD‘s front page, on March the 22nd, resulting in the issuing of warrants for the arrest of the two men. In June, on the 7th, by which time Detective Howes was on trial, THE WASHINGTON TIMES revealed that, contrary to earlier reporting, it was their higher ranking Superintendent, Major Pullman, who’d sanctioned “forcible entry”, and told them to: ‘get in’ in any way they could. (There was a suspicion that Kennett was renting out rooms for liaisons and illicit sex.)

RAIDS SHOW LID WAS OFF HERE, CRITICS ASSERT was the punchy headline on Page One of the Philadelphia newspaper the Evening Ledger, on July 17th. Sub-headed, Vice Rampant in City, Administration Opponents Say, the piece, which continued on Page Two, suggests a Police Department also characterised by heavy handedness. 552 arrests had been made in “the Tenderloin”, or corrupt district, in just one night — the 15th. However many innocents had obviously been caught-up in the trawl. Interestingly: “The raid was directed entirely against disorderly houses.” “Director Wilson”, the organiser, aimed to: ‘… wipe out all flaunted vice in Philadelphia.’ (An objective, it was stated, which had the full support of the Mayor, Thomas B. Smith.) Wilson was, he said: ‘… not through.’ And made a point of announcing: “We will rush these cases.” So great was the rush that every detainee was processed in just 16 hours. $50,000 in deeds “passed over the bench”. “$1,000 in small fines was collected”. And: “More than $10,000 in cash bail was accepted.” Further: “Men who proved they were only frequenters of the houses were fined $10 and costs and were allowed to go. Most of the girls were held under $300 bail for court, while proprietors of the resorts were held under from $1,000 to $1,500 bail. (These figures contrast sharply with the bail set for Guglielmi and Thym.)

At the same time as the general, national push (genuine or otherwise) to eradicate disorderly houses, and the expanding exposure of how police forces were sometimes protecting ‘resorts’, or brothels, there was also a very real probe into the activities of blackmailers. So topical was it, in fact, that in January, Author Amelie Rives‘ blackmail-themed play, The Fear Market, was running at the Booth Theatre in New York. (Amelie Rives was also-known-as Princess Amelie Rives Troubetzkoy; and was, as a result, the sister-in-law of Prince Paul Troubtezkoy, friend to Rudolph Valentino.)

While The Fear Market was receiving luke warm praise from the Drama Critic of the New York Tribune, unwritten theatrics were taking place regularly in court rooms, as a result of the capture and indictment of Don Collins, alias: Robert A. Troubillon. (His actual name, it was discovered, was Arthur L. David.) According to THE EVENING WORLD, on Wednesday, January 12th, 1916, Collins/Troubillon’s “White Slave Ruse” had “netted” an estimated $250,000. (In today’s money almost six million.) He and his male and female accomplices had: “… preyed on wealthy and prominent men visiting Atlantic City and other Jersey resorts…” Their tactic, to target the unaccompanied man with a “fascinating female”, who would seduce him and take him to a hotel. Once in a room, two fake Department of Justice officials would arrive, arrest the pair, and escort them in an auto. to Philadelphia; where, at “the Philadelphia branch of the Department of Justice”, they would suggest first going to have refreshments. While the arrested man was at his weakest, it would be revealed that prosecution could be avoided, if a large fine was paid. Then, after fake documents were produced, and signed, and the fine paid in some fashion, the relieved person was free to go. The amounts were, it appears, always in the region of the thousands. ($2,500, $5,000 and $4,000 are sums listed in the newspaper report as having been secured.)

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If the Collins prosecution, which rumbled along at the start of the year, is an eye-opener, the revelations printed in Western newspapers, on February 22nd, are eye-popping. In Washington and Oregon states, several titles – The Tacoma Times, The Seattle Star, The Daily Capital Journal and the East Oregonian (Daily Evening Edition) – put out front pages laying bare the criminality of: “A huge blackmailing syndicate, operating the entire length of the Pacific coast…”

“Actual photographs of leading

businessmen and club men in

compromising positions are in

the hands of the Sheriff and will

be used as evidence against the

blackmailing gang.”

From the front page of The Tacoma Times, Tuesday, February 22nd, 1916.

The sensational revelations – how Lillian [Peters] and Isabel [Clayburg] had “lured” older successful men “to a fine residence” and compromised them and taken photographs with concealed cameras – sparked a cross-country search for other such gangs. In late April it was reported (by Associated Press) that arrests were imminent in New York. “The Typical blackmailing gang is described as including two men and two women.” the single column, two paragraph report disclosed. In August, on the 5th, Goodwin’s Weekly gave up space on Page One to the subject. Quoting “William J. Burns” of New York” who had declared: “… that the great crime of the age is blackmailing.” And that: “… it is carried on mostly by elegantly dressed and accomplished men and women…” Those targeted were: “… wealthy married [women] …. Wealthy, respectable men …. College or school boys with money …. The daughters of wealthy families …. Married men …. Wealthy people with family skeletons.” And in the same month, on the 13th, THE WASHINGTON HERALD was up-front about how “Society bandits” were extorting large amounts from: “… wealthy patrons of Atlantic City, Cape May, bar Harbor and other fashionable coast resorts…”

Seen in the briefly detailed context of the drive to tackle ‘disorderly houses’/’resorts’, and the simultaneous crack-down on blackmailing by blackmailers, particularly blackmailing of the wealthy married woman and daughters of wealthy families, the offences of which Rodolfo Guglielmi and Georgiana E. Thym were accused that month, don’t seem so out-of-the-ordinary, or isolated. However, while they may be far far easier to understand, the accusations aren’t any less surprising to see, or to contemplate, even today. In fact they’re seriously surprising.

Rudy1916

It’s only due to the fact that, in the Spring of 1917, the then Rodolfo Guglielmi decided to attempt to prosecute the publications he felt had defamed him in their reporting, that we know what we do about what he was believed – I stress believed – to have been doing, at the apartment at 909 Seventh Avenue. Naturally the legal teams of the publishers that he was suing decided to scrutinize the files held by the Police. What those files contained was believed lost. (The files have been lost – the contents probably purposely destroyed – for many decades.) Yet, in the investigations of Macdonald DeWitt, the Attorney acting on behalf of the Sun Printing and Publishing Assoc., we see exactly what those lost folders contained, due to their contents often being faithfully reproduced. As follows:

I. AS A SEPARATE DEFENSE TO THE ENTIRE COMPLAINT

II, III, IV, V, VI

VII. That shortly prior to September 5, 1916, the said District Attorney and his Assistant District Attorney, James [E.] Smith, were informed that the said Georgiana Thym had extorted a large sum of money from a person whose name is unknown to this defendant, by a [threat] to expose to the wife of said person a disgraceful and adulterous act of which her husband had been guilty. That said District Attorney was also informed that the said Georgiana Thym …. kept and maintained a house of ill fame or assignation in order to afford the patrons and frequenters of said apartment an opportunity to indulge in unlawful sexual intercourse and complaints to the same effect had theretofore been made to the Police authorities of the City of New York. That shortly prior to September 5, 1916, the said District Attorney …. and Assistant District Attorney Smith …. were informed by one Tyneberg that his wife having become acquainted with the said Georgiana Thym had been accustomed to visit the apartment of said Georgiana Thym for the purpose of associating with this plaintiff [Rodolfo Guglielmi] with whom she said she had become infatuated. That the said apartment of the said Mrs. Thym was a disorderly house where men met women for the purpose of unlawful sexual intercourse; that upon one occasion Mrs. Tyneberg had visited said house and had been drugged; that upon awakening she had found herself in bed with this plaintiff [R. G.] and was told by this plaintiff [R. G.] and by Mrs. Thym that a flash light photograph had been taken of her while in bed with this plaintiff, which she could have upon the payment of $2,500. 

Further:

That prior to September 5, 1916, and in the course of said investigation …. James E. Smith …. was informed by one Shotwell that he, said Shotwell, knew this plaintiff [R. G.] and the said Georgiana Thym at whose house he’d repeatedly been; that her house was used as a house of assignation and that plaintiff [R. G.] lived in said house with her; that he, said Shotwell and plaintiff [R. G.] had, shortly prior thereto, agreed that on September 5, 1916, this plaintiff [R. G.] should induce a certain young and wealthy [woman] (whose name is unknown to this defendant), whom the plaintiff [R. G.] had met and danced with a number of times at hotels and restaurants in the City of New York, to go with him to the apartment of said Thym; that upon her doing so, said Shotwell should go to the relatives of said woman and inform them that she was in danger of compromising herself with this plaintiff [R. G.] and that unless said woman was promptly induced to leave said apartment and to free herself from association with plaintiff [R. G.], she would be ruined and her reputation compromised; that he, said Shotwell, knew said woman and this plaintiff [R. G.] and that he, Shotwell, would agree to induce said woman to leave plaintiff [R. G.] and return to her home that night without publicity upon payment of a large sum of money, which sum plaintiff [R. G.] and said Shotwell had agreed to thereafter divide between them. … Shotwell further informed said District Attorney Smith that he and plaintiff [R. G.] had frequently, during the year 1916, obtained large sums of money from the family and friends of young and wealthy women by means of the aforesaid trick…

Further:

Said Shotwell further told said Assistant District Attorney Smith that upon one occasion this plaintiff [R. G.] had induced a wealthy girl to go with him to the Thym apartment; that after she had reached there, Shotwell had gone to the girl’s father, told him that his daughter had been induced to go to the Thym apartment where she was held prisoner but that he, Shotwell could get the girl to return …. for a cash consideration; that the father had refused to be blackmailed and had called for the police; that afterwards several policemen had gone to the Thym apartment and had forcibly taken out the girl; that the reason no arrests were made was that Mrs. Thym had paid Detective Enright and other members of the Police Department …. sums of money to protect her against police interference and in consideration of which said Enright and others agreed that she might continue to use her apartment as a house of assignation and that she would not be prosecuted for such offense.

Swann, Smith, Thym, Guglielmi and Enright, are all names we’ve seen before, in the New York Tribune‘s report on September 6th. Tyneberg? And Shotwell? These are individuals who are totally confined to the pages of the defence of the Sun Printing and Publishing Assoc. by Macdonald DeWitt. They appear in no article, or piece, anywhere, at the time or afterwards. And are, therefore, certainly extracted from direct testimony to District Attorney (Judge) Edward Swann, or to Assistant District Attorney James E. Smith, or both, or from testimony in court. (Less possible.) Macdonald DeWitt raked through what was then available to them and put it to use in order to defend their Client six months later.

What we make of the damning testimony now, in 2019, is the question. In essence there are four, definite, described criminal acts. The blackmailing of the wife whose Husband had engaged in a disgraceful and adulterous act. The blackmailing of Mrs. Tyneberg, who was infatuated with Rodolfo, and had been photographed in bed with him. The nameless woman that knew Rudy through his dancing and was in danger of compromising herself. And the young, wealthy girl, whose Father refused to be blackmailed, and called the Police. (Who were subsequently bribed by Mrs. Thym.) The accusations of Mr. Tyneberg and Mr. Shotwell – particularly Shotwell’s – are incredible. The information (to James E. Smith): “… that he and plaintiff [R. G.] had frequently, during the year 1916, obtained large sums of money from the family and friends of young and wealthy women by means of the aforesaid trick…” has us naturally pondering. Thinking: is any of this true? And if not, then what sort of personality could possibly conjure-up such imputations, and, have the nerve to deliver them to the Assistant District Attorney? Obviously placing themselves in a difficult position as a result? Questions. Questions. Questions.

NewYork
New York in the mid. Teens.

In Signor Rodolfo, the fourth chapter of her 2003 biography, Dark Lover: The Life and Death of Rudolph Valentino, Emily W. Leider devotes half of Page 72, all of Page 73 and half of Page 74 to September 5th, 1916.  Two pages, or so, in all. On page 73 Leider asks her own questions and proceeds to tell us that: “… they aren’t all going to be answered.” Why was Rodolfo at Georgiana’s apartment? Was he there to enjoy “a prostitute”? If so why were there no prostitutes there? John [L.] de Saulles, at the time being divorced by his wife of just a few years, Blanca E. de Saulles, was, she presumes, the businessman who spitefully informed the authorities. Was Rudy followed to the premises? And why did the investigators consider him to be, not a Customer, but more of a Proprietor? And: “On what grounds, if any, did they base their assumption?”

Looking back at what’s reproduced here – paragraph VII – from the response to Rodolfo’s action against the Sun Printing and Publishing Assoc., in the Spring of 1917, we’re able to add most of the missing jigsaw pieces. Rudy was at 909 Seventh Avenue because he lived there – I’ll enlarge on this – and therefore wasn’t there to procure sex. There were no prostitutes present due to people being allegedly brought there to be blackmailed. John L. de Saulles wasn’t the vengeful informant, because, if he was, his name would appear; and the names that appear, are: Mr. Tyneberg and Mr. Shotwell. (Mr. Tyneberg being the Businessman husband of a Victim and Mr. Shotwell being an Accomplice confessing all at Narragansett Pier.) He hadn’t been followed as he was a resident (as already stated). And the investigating team viewed him as they did due to all of the startling testimony they’d received prior to September 5th.

Indictment

Compared with the incredibly detailed information that we find in the response by the Defendant to the action taken by Rudy, the “court records” Emily W. Leider accessed and referenced (Case #111396, Court of General Sessions, People v. William J. Enright, September 5th, 1916, New York City Municipal Archives), are curiously lacking in detail. According to them/her, neither Rodolfo or Georgiana were accused of “any crime”, though they were indicted as: “… operators of a bawdy house that paid protection money to a policeman.” This indictment, luckily, is also reproduced in full, in the defence of the Sun Printing and Publishing Assoc. (See above.)

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“The evidence must have been flimsy…” Leider states on Page 74. “… because two days after the raid their bail was reduced from $10,000 to $1,500…” However, it was not due to “flimsy” or insubstantial evidence, as much as it was due to “the plaintiff” asking the Assistant District Attorney to reduce his bail, if he could supply details to him of: “… a number of people who had blackmailed wealthy persons within the City of New York…” And also because the: “… plaintiff could give the [Assistant] District Attorney such information as would enable the [Assistant] District Attorney to arrest and convict said persons.” (That is, anyway, what the defence material details.)

For those wondering – and I’m sure some are wondering! – what Rudy’s complaint was and what he expected to achieve suing the various publication titles the multiple actions – particularly the action against the Sun Printing and Publishing Assoc. – tell us.

As follows:

… FIRST COURSE OF ACTION

I, II, III, IV, V, VI, VII, VIII, IX

X. [Their article was] “… false and defamatory and [constituted a] libel upon this plaintiff…”

XI. [Their article had been] “… published and circulated …. maliciously, recklessly and carelessly without proper investigation…”

XII. [The] “… plaintiff had been grievously injured in his good name, fame and reputation and in his professional calling …. causing [him] to be shunned and ostracized by his friends and professional acquaintances and associates…”

XIII. [That] “… the …. [libellous] publication …. has …. contributed to the total loss …. of his earnings as a professional dancer, and has compelled plaintiff to abandon his said profession, thereby losing an annual net income of approximately Twelve thousand [five] hundred ($12,500) Dollars, and …. [the] plaintiff has likewise …. been deprived of a contract to perform as a dancer for a few hours each evening at Hotel Ritz-Carlton, for a remuneration of One hundred and fifty ($150.00) Dollars.

… SECOND COURSE OF ACTION

XIV, XV, XVI, XVII, XVIII, XIX

WHEREFORE plaintiff demands judgement against the defendant in the sum of One hundred thousand ($100,000.) Dollars, together with the costs and disbursements of this action.

That Rudolph Valentino, as he later was, was, at the time, in May 1917, seeking $100,000 in damages from one title’s publisher, and, it’s to be imagined, the same amount from all of the others (five or so altogether), is quite amazing. That’s a sum – $500,000 – that’s now equivalent to almost $13,000,000. In Paragraph XIII we see his “annual net income” was $12,500. And that he’d “been deprived” of a few hours dancing every night at “Hotel Ritz-Carlton”, for which he received $150. (Which was probably a weekly sum.) However, if we add $12,500 to $7,800, we only arrive at: $20,300. And as there’s no breakdown, only a single figure, with “costs and disbursements” included, we can’t really be too sure what it constituted. Did he times $20,300 by five? Whatever his, or his legal representative’s thinking was, it’s clear the amount is unrealistically high. Unless it was spread across the quintet of actions at a rate of $20,000 per action. But this is not made totally plain as far as I can see. (Rudy’s Attorney at the time was Mr. Louis H. Moos.)

Rodolph
Valentino advertising himself in 1919.

What do we learn beyond this? Looking at the multiple actions, it’s clear that in the years 1918 and 1919, there was a delay in the progression of the prosecutions. Why? After being “commenced” on “March 14th, 1917”, on October 30th, of the next year: “… the parties …. entered into and signed a stipulation …. marking the case reserved generally.” And that “at the plaintiff’s request” it was again “marked reserved” on “June 9th, 1919”. (The reason is unknown, but Rudy was in California, and perhaps had insufficient funds to pay his Legal Team.)

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It was in February 1920, that Mr. Justice Platzek ordered the examination of the now, professionally known,  Rudolpho De Valentina/Rudolphe Valentine, in order to prepare for a trial that year. The examination, which was conducted at 11:30 a. m., on April the 14th, at the office of William A. DeFord, and was the real reason he was in New York that Spring, is one of the most exciting, as it’s a written record of pre-fame Rudolph Valentino actually speaking, as he spoke, rather than how he was interpreted and paraphrased after success in The Four Horsemen of the Apocalypse (1921). The people present were: “the Plaintiff in Person”, using his true name: Rodolfo Guglielmi; Lyman E. Spalding Esq. and C. L. Gonnet, Esq., his Attorneys; and, for the Defendant, William A. DeFord. And there was also a Stenographer, by the name of Cleo C. Hardy, who took Rudy’s words as they were spoken “stenographically”, so that they could be transcribed and read and signed by the Witness.

It’s apparent, when reading the lengthy question-and-answer-session, on April the 14th, 1920, that the purpose was to take Rudolph Valentino back in time, and to see, from his point of view, what had transpired. Nowhere in any of the documents in the many files do his own opinions or his perspective appear. Everything focuses on the accusations against him and Mrs. Thym. And consequently it’s a fascinating read.

After giving his full name (Rodolfo Guglielmi), his age at that time (24), and profession (“Motion picture actor”); he reveals that he became a “moving picture actor” “Just about two and a half years ago.” (Seemingly ruling out any possible appearance in My Official Wife (1914).) After being asked how he was occupied prior to that he replies that he was a “professional dancer” “Since 1914” (the “October or November”). Then saying that his address at the time is: 61 West 55th Street, New York.

When asked about his address on September the 5th, 1916, he’s very quick to say that it was 909 Seventh Avenue, New York. He had, he says, been resident there: “… several months.” (Forever disproving he was probably a visitor.) Furthermore, he had, he tells DeFord, lived there previously and returned. (“I had been there before, and then I moved away from there, and then I came back again.”) About Georgiana, he says that she lived at the apartment alone, and rented him the room and made his breakfast in the mornings. And further: “The first time I was there, there was a roomer, another, a lady had the front room of the apartment.”

After confirming to his questioner that he knows the Assistant District Attorney but not Detective McGlynn, he is then asked about the morning of September 5th, 1916. To which he replies – there are a series of questions – that the policemen “busted in through the door”.

As follows:

“Well, I came out in the hall when I heard the racket, they broke through the door downstairs, and some other detectives, they broke through the upstairs — the attic door. I came out to see what the racket was about.”

Further:

“I was confronted by several men with guns in their hands, and they asked me if I was Rudolph, and I says: ‘Yes,’ and someone came to me, afterwards I knew he was District Attorney Smith, and he said they wanted me down at Mr. Swann’s, so to dress.”

In Valentino’s version there’s no looking out of the window when the Vice Squad first pounded on the front door and told them to open up. As he tells it to William A. DeFord he was in the bathroom and then in the hall in his pajamas. However, the fact he was already out of bed suggests that he did appear at the window – the bathroom window? – to first see who was knocking, as was reported in some newspapers. The fact that they smashed their way in would be the result of entry being denied. And the guns in their hands are a sign they thought there could be trouble. (The weapons would, for me, come out after the refusal.) Like the officers that day we might wonder why it was that Rudy didn’t want to allow the officers into the premises.

After his description of the five-to-ten minute episode – which is like a dramatic moment in a contemporary play or silent film – we have Rudy’s exchange with the Assistant D. A. while he was dressing.

As follows:

“… he come in and asked me, as I said, who I was, and where I came from, and I told him I came from Italy. When I asked him what reason he busted in that way, he says, ‘Are you [a] citizen?’ I says, ‘No.’ He says, ‘If you are no citizen, you have no right to ask questions.’ Then he told me to get dressed, or I would catch cold, and sarcastic things of that sort.”

Rudy claims never to have been shown any paperwork or subpoena. DeFord asks him, again and again if he’d been served anything, and his reply, persistently, is that he wasn’t. (Repeatedly in the papers it says that he was.) D. A. Smith said only that due to him being an Italian he would be: ‘… sending him back in six months to Italy.’ It’s after this that he explains how they were taken first to “Mr. Swann’s office by way of “the subway” (which doesn’t suggest they were handcuffed). Strangely, we then get several pages (from eight to fourteen), of discussion about Rodolfo wearing or not wearing a corset. (It turns out that he wore an athletic jockstrap not a man’s corset.) And if he wore a wristwatch that morning. (He did.) Or any perfume. (He didn’t.) That the Attorney for the Star Company wanted to establish if it was or wasn’t what was reported – a corset, a wristwatch, etc., – is obvious. Yet six to seven pages does seem rather over-the-top.

Rudy next reveals that he and Mrs. Thym were “taken before” Judge Otto Rosalsky, Justice of the Court of General Sessions of the Peace, in the afternoon of the day of their seizure. (He had, he said, seen the weapons, and gone where he was told to go without questioning it.) He and his Landlady were presented to Justice Rosalsky in his chambers. The exchange went as follows:

“As I came in Mr. Smith said, addressing Mrs. Thym, said ‘Here is Mrs. Thym, she has been keeping a disorderly house, and here is Rudolph, a pimp,’ he [said], ‘he has been procuring girls for her, and they divided the results.’ And before I hardly had a chance to say anything, to speak, I think Mrs. Thym said, ‘It’s a lie,’ and I was dumbfounded, I could hardly say anything, Mr. Judge Rosalsky asked Mr. Smith, ‘Are you sure?’ Mr. Smith [said], ‘Yes, we have got the goods on them.’ So he gave me a squint, and he say, ‘Ten thousand dollars bail, and send the woman up to the House of Detention’ — I think up a Hundred and something — ‘and the man to the House of Detention on Fifty-third,’ and we were ushered out.”

It’s at this point – pages 18 to 19 – that the questioning becomes more intense. DeFord puts Valentino on the spot over and over about what he remembers was said while he and Thym were in front of Rosalsky. The reason for his obsession becoming steadily clearer as the questioning continues. As follows:

Q (Question)

“I want to ask you, to refresh your recollection, if Mr. Smith said in the presence of the Justice …. that Mrs. Thym had been engaged in the business of conducting a disorderly house and paying money to the police of the city of New York for protection for a number of years past?”

A (Answer)

“Yes, he said that she had been keeping a disorderly house.”

Q

Did he say she’d been paying money to the police for a number of years for protection in that business?

A

No.

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William A. DeFord.

The Attorney acting on behalf of the Star Company then asks Rodolfo if it was stated that he’d been procuring girls, to which he answers that he was called “a pimp”, and that that was enough for him to understand what he was accused of. When asked if it was stated by the Assistant D. A. that he and Georgiana were guilty of: “… the running of that house, of extorting large sums of money from men or women who had frequented the house for the purposes of having illicit sexual intercourse?” he responded that he didn’t recall that being stated.

When asked by DeFord if he or Mrs. Thym had been charged with being blackmailers in front of the Judge he replied in the negative. He could only recall it being stated they were charged with running a disorderly house and dividing the profits. No recollection, according to him, that anything had been said about their extorting money. However, when his questioner asks if he’s saying that Mr. Smith might’ve said it but he doesn’t recall it being said, he answers, worryingly: “Might, and might not.” (Of course we have to consider that many years have passed and Rudy’s memory might not be helping him to remember everything as it was that day (which would be understandable).)

Rodolfo doesn’t recall the names Enright and Foley being mentioned. Or that: “… wealthy girls, of high social standing…” were talked of. Or that the “wealthy girls” not spoken of, according to him, were placed in compromising positions. And when asked if he can remember hearing that he and Georgiana were “to be held in bail as material witnesses he answers that he only heard: ‘… we have got the goods on them.’ And then:

Q

“You know, do you not, that you were at that time simply held as a material witness?”

A

“I didn’t know nothing of the sort. I never had no dealing —“

Q

“Did you have an attorney there at the time?”

A

“No, sir.”

When asked again if he understood the situation fully at the time Rudolph Valentino says that he only knew he was held on $10,000 bail — he didn’t know why. When asked if he was charged with a crime he says no. For information? No. Was any complaint made? No. And when asked if: “… a complaint or an [sic] information or an indictment wherein you were charged with any crime?” was shown to him his answer once more was: no.

What this is all building up to is obvious but we’re not there yet. A trap is being laid for him, and he naturally doesn’t see it, as he’s being asked question after question, and is stuck in his recollections and distracted. First of all, Rudy tells his questioner, William A. DeFord, that he wasn’t in the Tombs, but at the House of Detention at Fifty-third and Eighth Avenue; then, that he was there for three days; and then, that he was released on $1,500 bail. (The application for a reduction was made, Rudolph assumes, by his lawyer, Mr. Moos.) When asked if he was discharged without bail he answers: “I had a habeas corpus proceeding in the Supreme Court.” And when asked if he was discharged he responds: “Proved my innocence completely, and discharged.”

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Judge Rosalsky.

The questions that follow are about what exactly ‘the goods’ were. (The goods were what the Assistant District Attorney said they had on both Guglielmi and Thym.) Here we see that Rudy didn’t know. When asked what that meant he answers: “I didn’t know.” When asked if Mrs. Thym had made: “… any statement to Judge Rosalsky in your presence, in the course of that proceeding?” his answer is: “She protested.” Further: “She said it was a lie, it was abominable, things of that sort. She was nearly hysterical.”

It’s now, on pages 27 and 28, that we get another look into the lost/destroyed police files that have been a mystery for so many decades. (The belief is that they were spirited away once Rodolfo Guglielmi achieved Stardom in The Four Horsemen of the Apocalypse (1921).) DeFord wished to probe a little regarding Rudy’s appearance as a Witness, at a proceeding at the Supreme Court, entitled: ‘The People of the State of New York, ex rel. Rudolph Guglielmi, against the Warden of the City Prison, Seventh District’. This “proceeding” was “on or about December 1st” that year. And William A. DeFord asks Rudolph Valentino if he was asked a certain question, that day in the Supreme Court, regarding what happened in Judge Rosalsky’s chambers, on the afternoon of September 5th. The question being:

Q

“What was the first thing then that took place; who spoke first when you got in there?”

A

“Mr. Smith spoke first and pointing to Mrs. Thym said: ‘This woman is conducting a disorderly house and paying money to the police for eighteen years;’ and he says: ‘This young fellow Rudolph has been trying to get girls and is dividing the money with Mrs. Thym.’ “

Did Rudolph Valentino realise at this moment that he’d been outwitted by the Attorney acting on behalf of the Star Company? If not, the penny surely had to be dropping by the time he got to his next question, and the next. After DeFord clears up that Rudy was a lot clearer than than he was in 1920, about what was said in Judge Rosalky’s chambers on the afternoon of September 5th, 1916, he then moves on to how the pair were being held as Material Witnesses. (Valentino had told DeFord that he had no recollection of being told this.) However, in the proceedings, before Judge Philbin, in December of 1916, when asked about it he gave a different answer. As follows:

“And he didn’t say anything to you further than what you just said?”

A

“No. Mr Smith in his declaration, he said: ‘I want these people to be held as material witnesses,’ and he explained why, saying that this woman kept this house, just as I said before.”

It’s at this point that Rudy, for some reason tried to argue that he didn’t know about being a material witness until he read it in the newspaper, while at the House of Detention. DeFord steers him back to the evidence. Telling him that he had said he was told he was a Material Witness, and that he himself had said he was told this in Rosalksy’s chambers, and had said so in the Supreme Court on December 1st, 1916. On hearing this clarification Rudy agrees that he said it. And William A. DeFord moves on to his Ace Card.

Rudolph Valentino had, he said, told him, categorically, that he’d never been accused of: “… blackmailing people you brought, women, and also women who came there, for the purposes of illicit intercourse.” DeFord then tells Valentino that Judge Philbin had asked him a direct question about this in the Supreme Court. As follows:

Q

“What did he say about you?” (the question referring to Mr. Smith.)

A

He said I was supposed to bring girls to this house and that I was blackmailing with Mrs. Thym and dividing the money.”

The final hammer blow was when DeFord confronted Valentino with a series of questions and answers from the proceedings in the Supreme Court. The exchange was again about what had he’d been accused of. As follows:

Q “Now say again what Mr. Smith said you were guilty of.” A “Mr. Smith said I was guilty of bringing girls and blackmailing with Mrs. Thym society people, and dividing the amount.”

Q “Did he say anything further to indicate what he meant by bringing girls?” A “He said this woman had taken a disorderly house, that I was bringing these girls to try to blackmail society; he didn’t explain very much; he only just stated that fact.”

Q “Do I understand you to say that he charged you with bringing girls to the house that this woman was running?” A “Yes, sir.”

Q “And for the purposes of prostitution?” A “Yes, sir.”

Q “And you heard him say that to the Judge?” A “Yes, sir.”

Q “Did you deny it, tell the Judge that wasn’t so?” A “I couldn’t say anything. I didn’t have an opportunity to say a word.”

What are we to make of this engrossing question and answer session, extracted from Rudy’s recorded testimony, at the proceedings in the Supreme Court, on December the 1st, 1916? Beyond it being DeFord’s purpose to prove to Valentino that he’d been evasive, purposely or otherwise, when asked questions throughout the examination on April the 14th, 1920? (The Star Company’s Attorney was obviously seeking to find a way to bring an end to the action.) William A. DeFord does succeed in holding up a mirror to Rudolph Valentino when it comes to what he knew. But does it help us to see what he saw? Or to see anything?

It was a “fact” that Thym ran a disorderly house? That Marquis Guglielmi (Roma) was securing “girls to try to blackmail society”? Smith didn’t explain very much? Or was it, instead, a “fact” that the Assistant District Attorney stated what he did? Was Valentino not properly expressing himself as his second Wife sometimes said he did on occasion? At no point, unfortunately, does the Star Company’s Attorney make a point of asking him if he was a Blackmailer. And at no point, unfortunately again, does the Plaintiff say that he wasn’t. Though he did, it must be admitted, say, that at the habeas corpus proceeding, in the Supreme Court, his innocence was proved: “Proved my innocence completely, and discharged.” At this point DeFord begins to conclude the examination. However, before he does so, we have a revealing glimpse of Rudy’s life in the weeks before the incident, when he’s asked about an answer he gave, in December 1916. As follows:

Q “How long did you live with Mrs. Thym?”

A “For over about five months. I have been out of town, playing on the road; then I came back; I went out; then I passed all summer at another house because one night I tried to bring a girl into the house of Mrs. Thym and she told me I couldn’t have – be there; so she asked me to give up the room and therefore I had to give up the room; I went to live in 57th street and stayed all summer there. Mrs. Thym told me she had a room in her house free. I asked her if she would take me back. She said yes and I moved back on Thursday and the following Tuesday, the day after Labor Day, they came and arrested me. Only four days I had been in the house.”

William A. DeFord wanted to know if Rudolph Valentino had had any kind of discussion with James E. Smith, about getting his bail reduced, as a result of giving information that would help the investigation. When asked: “Did you ever have any such talk with him at all?” Rudolph’s answer is: “No, sir.” Yet DeFord wasn’t satisfied with the response and pressed him quite hard to get a different answer. Telling him flatly, but with great care, that he had indeed had such a conversation. And that the Assistant District Attorney had said the bail could be reduced, from $10,000 to $1,500 if he gave them useful details. (Details of people engaging in the blackmailing of figures in Society.)

Rudy shifts and says that there was a conversation, and that the Assistant D. A. did ask him to provide information, but that he had none to offer beyond what he’d already provided. (Exactly what that was isn’t clear.) When the Attorney pushes him, and says that Smith stated that Valentino had provided information, contrary to what he’d just told DeFord, he responds by saying: “… that is a pack of lies.” Then, after clearing up how his bail was reduced regardless the conversation turns to Rudy’s career. The quick sketch he provides, is one which appears to cast serious doubt, on the claims of those who said they’d danced with him, or worked with him, or that he’d been working for them. (One of the best examples being George Raft.)


If you have stuck with this to the conclusion then you deserve a pat on the back. I must say, however, that the length of this post is nothing, compared to the extent of the actual documents that were accessed. It was necessary to read the contents of the files countless times to make sense of what was contained — and they required further reading, as this post was being written, so that absolute accuracy and clarity could be achieved.

I was never able to accept there was no way of knowing why Rudy was at 909 Seventh Avenue, early on the morning of September 5th, 1916. For me there just had to be some way of finding out what on earth was going on. Of course that didn’t mean that I’d find out — but I wanted to try to. That I did discover why, is down to opportunity, intelligence and a big dollop of luck. (Lovely Lady Luck does help me out from time-to-time.) 

The documents have enabled us to see beyond the lurid newspaper reports. To look into his actions against the varied titles and their publishers that he felt defamed him. To see why the prosecutions were delayed. And to hear Rudy himself relate his experiences at the time as he recalled them in 1920. However, I have to say, that while the discovery I made does assist, it doesn’t give us everything we need. And this is partly due to Rudolph himself.

Was he a procurer of women? Was he a Blackmailer? Did he jointly run a Disorderly House with Mrs. Thym? He was never found guilty of any of those crimes. Yet we must consider Tyneburg and Shotwell. Their testimony, seemingly not available to DeFord for some reason, is bothersome, to say the least. The United States was certainly feverish that year. Vice was seen at every turn. And the slightest whiff of wrongdoing was more than sufficient for a raid and the squads were at the ready. Yet, the two accusers gave information that, even now, seems substantial. And what about Frank A. Lord? As soon as he was able, Rudy contacted the Second Deputy Police Commissioner, in a desperate bid to secure his assistance. This was a person he knew and reached out to. So why was Lord so distant? Why would he pretend not to know him and then remember him? Did he, himself, have something to hide?

Perhaps there are other documents – such as the habeas corpus proceedings referenced by DeFord – waiting to be found. Material that will give us even more insight. If not, then we’ll have to accept that the blackest day in his life is a never-to-be-completed puzzle, that now has more pieces added, but is still far from the full picture we’d like it to be.

Thank you so much for reading this post. As always, the sources are available to anyone who contacts me, if they’re not already embedded into the text, or added as an image. This post will be followed, in time, by a New York Timeline for 1916, which will include the divorce of the de Saulles mentioned here; a look at The Missing Half Year; and a New York Timeline for 1917, that will conclude that series. See you all in October!

The Slave Bracelet

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There are few items associated with Rudolph Valentino that are more emblematic than his Slave Bracelet. And it goes without saying this Blog would be doing him an injustice, were I never to properly look at it, or, into it. Of course I realise that I tread well-trodden ground. This is a trail much tramped and I see the footprints in front of me as I walk. Yet, I think I can, regardless, present new information — if that doesn’t sound conceited. Here then is: The Slave Bracelet.

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A whole half year after Valentino’s untimely demise, aged 31, a man named Robert V. Steele wrote an interesting, lengthy article. Titled in capitals: DID ‘POWDER PUFF’ CAUSE RUDY’S SUDDEN DEATH? the syndicated full page piece, published Tuesday, March 1st, 1927, on page six of the THE KEY WEST CITIZEN, was accompanied by a sizeable image of the deceased Superstar, as usual immaculately dressed, with his pipe in his right hand and his Slave Bracelet on show. Had “Rudy-of-the-Slave-Bracelets” been hastened to an early death by the “knockout” blow of the ” ‘Pink Powder Puff’ editorial?” Steele asked.

For those wondering what the ‘Pink Powder Puff’ editorial was we’ll come to it later. In the meantime, I can reveal it declared, in-no-uncertain-terms, that slave bracelets were an indication of effeminacy, and worse, degeneracy. By wearing one Valentino was an effeminate man and a degenerate man. Encouraging effeminacy and degeneracy. A bad influence, if you like. A menace. Of course, now, as then, we know this to be ridiculous. Fallacious if we’re being charitable. An odious slur if we aren’t. Yet we might wonder – I do – how it was that such a laughable standpoint could’ve been voiced let alone printed. To find out we must delve a little.

There’s absolutely no question that at the turn of the Twentieth Century in America bracelets of all types were the preserve of females. And if we’re in any doubt – I know one or two of you will be – we need only consult the art and literature of the day, newspapers or magazines and their advertisements, and of course picture plays/films. A 1902 report, reproduced in THE SAINT PAUL GLOBE, but originating in the “Brooklyn Eagle” (actually The Brooklyn Daily Eagle), features what appears to be the first mention of a Slave Bracelet in the United States in the early 1900s. Titled HISTORY AND TRAGEDY CONNECTED WITH OLD JEWELS, and subtitled Could Old Heirlooms Talk They Would Tell Strange and Wonderful Stories, it details, at great length, a new craze among the sophisticated for antique or reproduction antique items. A mania fuelled by: “Art jewelers …. paying enormous sums for antique ornaments…” “… exclusive and high-priced jewelers…” who were: “… sending out agents to procure for them the former treasures of bankrupt aristocrats.” We learn how one establishment was offering customers a reproduction of an “Egyptian bracelet”. (Hand-crafted, hammered gold medallions of a sphinx, a woman’s head and a snake, each in relief and linked together by jewels.) And that: “The heavy band of the Greek slave…” was: “… another fad of the moment.” Large, and made of burnished gold or black onyx, a: “Mrs George Cornwallis-West…” was anticipating delivery of: “… a Greek slave bracelet to be made of blackened ivory studded with diamonds…” expected to cost her $3,000. (It isn’t clear if Cornwallis-West’s order was a band or a chain. Suggesting the phrase was then a little flexible.)

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It’s probable the trend was driven by late Nineteenth Century archaeological finds. And representations of ancient history, or exotic slave markets, in paintings and prints. That early cinema contributed is undeniable. The Vitagraph Company of America’s, A Tale of a Harem, in 1908, featured the loss of a bracelet by one character and its discovery by another. And in the Selig Polyscope Company’s, The Wife of Marcius (1910), a bracelet is used unsuccessfully by one Roman to win the heart of another’s wife. Slave bracelets appeared from time-to-time in serialised stories too, in local, statewide and national news publications. Perhaps the best pre-War period example being the one in David Potter’s, I Fasten a Bracelet, J. B. Lippincot Co., 1911. Presented in instalments as late as 1914, it’s an odd tale of a man named Craig Schuyler, who returns from Sumatra to menace his former Fiancee, Ellen Sutphen, and also her mother, in their own home. The bracelet of the title is a crude iron African Slave Bracelet Craig forces Ellen to wear. And as a modern symbol of enslavement it weirdly echoes the claimed future enslavement of Rudy by his second wife. But more about all that later.

We’ve seen how, up to 1914, bracelets were an exclusively feminine item on one side of the Atlantic; but what about on the other side, in Europe — and beyond. Inhabitants of the Continent were, it seems, as enamoured of antique or reproduction antique pieces as Americans were, if not more so; if we trust the press of the period, which of course we do. In France – France, particularly Paris, being the initiator of rages then, and for many decades afterwards – we find bracelets galore in article after article in the newspapers and supplements of the Belle Epoque. For example, Histoire d’un bracelet, in 1901. The amusing tale of a well-known lady of society who, after requesting from two wealthy male friends a souvenir of a memorable event, received 25,000 Francs from each, bought a single bracelet worth 50,000, and, after pretending to the first it was worth 25,000, and allowing him to borrow it to show to his wife, not only lost it to her in return for a copy worth 25,000, but was confronted by the man’s spouse at a later date wearing the 50,000 Franc bracelet!

I confess I didn’t expect to find, as early as 1909, a news item that revealed the genesis of the bracelet for men in modern times. (Such information would elude me I was sure.) As big a surprise was that the origin wasn’t, as I anticipated, France. That the place where bracelets for men became The Vogue was Great Britain – or England as it was referred to at that time – amazed me. In fact, I’m stunned that the heart of the British Empire, filled as it was with so many stiff upper lips, would spawn such a tradition. And yet it did. As follows:

Men’s bracelets.

As women become masculinized, they take over all the situations considered to be the preserve of men, and have fun at the expense of men, with delicacies, and with futilities that were considered reserved for the weaker sex. They want to put the bracelet in fashion.

Already, these last years, the young elegants have adopted the carrying on their manicured fingers of expensive rings. Here in England they declare that the bracelet is ‘chic’.

Until recently, the bracelet was offered by the English to their fiancees; it was the gift of ‘alliance’, the symbol of union. Today, in New Bond [Street], young people choose themselves these jewels and declare them elegant.

November 25th, 1909.

The insightful, gossipy piece, by an anonymous correspondent for L’UNIVERS ET LE MONDE, is helpful to us on several levels. Firstly that it touches on the fact that females were becoming more assertive and making decisions for their males. Secondly that that meant they were feminising, or softening, their men. Thirdly that there was a definite appetite amongst certain males – Young Elegants – to acquire adornments. And fourthly, that, in England at least, where the fad commenced, it was “a symbol of union.” Soon all of this will prove to be very useful.

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Unidentified WW1 Soldier.

Bracelets

We must assume – and I think we do assume – that the fad reported about in 1909 made its way inevitably across the English Channel and was for-ever-more seen as a French Thing. That the Young Elegants with polished nails jumped onto the trend, is supported by Emily W. Leider, in her 2003 biography, Dark Lover: the Life and Death of Rudolph Valentino. On page 325 she explains that “young male artists” working for La Gazette de [sic] Bon Ton in 1912, were labelled “the Beau Brummels”, or alternately “Knights of the Bracelet”, due to their practice of parading about with conspicuous wrist jewellery. And that it was known to be a Gallic affectation after, is reinforced by an aggressively-toned paragraph in a film industry title in the Twenties; which states very clearly – the writer knew what they were talking about I suppose – that: “… Frenchmen during the war started to wear various bracelets and wristwatches…” (See above.) Researching the subject as much as I could in the time that I had, I discovered it wasn’t just Frenchmen that wore bracelets in the trenches. The fact that I found an image of “an unidentified Australian soldier from the 2nd Division”, wearing a metal wrist chain with an identity disc, on the Australian War Memorial website, shows other nationals wore them too. (It seems tags were introduced so bodies could be identified and some combatants began wearing them on a chain.) I lastly throw into the mix a profile of Ivan Mozzhukhin/Ivan Mosjoukine/Ivan Moskine, in which he’s credited as having been personally responsible for their popularity (at least in Europe). And that: “The slave bracelet is worn by all loyal aristocrat Russians who still hope for the return of the Little Father to his rightful place.” Of course this information (in UNIVERSAL WEEKLY, on April 9th, 1927), isn’t at odds with the former, if a few exiled Russians in Paris after 1917 took-up the wearing of bracelets already popular there.

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As we know, despite several attempts to do so, Rudolph Valentino didn’t fight in The War to End All Wars. And yet not too long after the conflict ended he did indeed possess and wear a bracelet. This fact, proven by close examination of images taken between 1920 and 1922 where his wrists are visible, is often overlooked. And it possibly backs up Jean Acker’s later claim in an interview that she’d given him his Slave Bracelet. (There’s no denying it appears soon after their ill-fated wedding towards the end of 1919.) Of course the chain we see in candid and promotional shots is a light-weight, far less impressive piece, than the one given to him by his next partner Natacha Rambova. But there it is and it can’t be dismissed.

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A women’s Summer trend report from 1919.

The story of how he received that replacement bracelet is a well-known one but it bears repeating. About four weeks before Christmas, 1924, Luther H. Mahoney, employed earlier in the year by the Valentinos as a Handyman/Bodyguard/General Help, was given “a drawing of a slave bracelet to take to Tiffany’s” in Los Angeles by Natacha. Her wish was to have the exclusive jewellers create the trinket (out of platinum) in time to give to Rudy on Christmas Day. According to Mahoney – who at the time was surprised that he – “a man” – would receive such a present – she got her wish. And he was, Luther revealed: “… very happy with the gift. He agreed that it was a wonderful gift, and he wore it all the time.” (It appears ‘Lou’ confused Brock and Co. with Tiffany and Co.)

S. George Ullman, as ever placing himself centre stage, fails to mention the involvement of Luther H. Mahoney. And we soon see why. In his version, in: Valentino: as I Knew Him (1926), at the beginning of Chapter Eleven, he, not ‘Lou’, was the person responsible for arranging for the fateful piece to be crafted. That Ullman doesn’t give any timescale, or mention the manufacturer, or even the cost, suggests he wasn’t. (And what Business Manager would run an errand of this nature anyway when there was a very available Handyman/Bodyguard/General Help on hand?) Yet, he was, without question, a witness to proceedings on Christmas Day. His verbose recollections, while giving us no more than the remembrances of his foe, do set the stage quite nicely for the ensuing silliness in the New Year, as well as in the one following: 1926.

Slave bracelets had been noticeable in the USA for twelve months by the end of 1924 — but, as intimated, on the wrists of women rather than men. (I found no advertisements for bracelets of any type for males.) Natacha was, she almost certainly knew, breaking with convention when she fastened one to her husband. (A man in any walk of life that year was likely to receive cufflinks or something similar.) However, looking back to the 1909 report, and pausing for a moment, we realise she was a person who made her own decisions, that enjoyed having fun with how a man looked, had been exposed to artistic types/Young Elegants, was creative and imaginative and practised at demonstrating her abilities, a woman, and, above all, a woman seeking very much to cement her alliance. Rudy, for his part, was a European who already had a penchant for anything glittery. He owned scores of rings, shirt studs and tie pins, wrist watches and pocket watches. And as already stated he’d previously worn a bracelet. If it was a departure for Mahoney, or for Ullman, or anyone else, it wasn’t for Valentino. He was in tune with his partner and she was in tune with him. To the extent he also purchased for her something for the wrist: a breathtaking watch with a face that was a moonstone edged with diamonds.

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According to Luther Rudolph knew: “Many remarks were made about the bracelet. He was aware of them, but …. never paid any attention to such comments… …they just rolled off him, like water off a duck’s back.” For eighteen months or so he could perhaps ignore the rumblings here and there. (The one above about Red Grange in 1925 is typical.) None, as far as I know, were particularly vicious, and besides he was busy; first with The Eagle (1925), and then with The Son of the Sheik (1926). That is, until Sunday, July 18th, 1926, when The Chicago Tribune published an anonymously-written, insulting piece, headed with the words: PINK POWDER PUFFS.

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Part of the original PPP piece, in July, 1926.

S. George Ullman divulged the following about the day on which Rudolph Valentino saw red when he saw and read the defamatory editorial:

“Although we were in Chicago only between trains, we went to the Blackstone. Here I was handed the now famous editorial which originally appeared in The Chicago Tribune. … this scurrilous attack embittered the last days of Rudolph Valentino, killing his usual joy and causing him more mental anguish than any other article ever written about him …. the infamous anonymous attack …. I recognized as coming from the same poison pen which earlier in the year had, without cause and without reason, attacked my friend.

As I read this cowardly and yellow attack my countenance must’ve changed, for Rudy, watching me, immediately asked what was wrong.

If he had not caught me in the act of reading it I think I would never have allowed him to see it, so profoundly do I regret the irritating and saddening effect it had upon him. He …. read it… His face paled, his eyes blazed and his muscles stiffened.

I shared his anger, for it seemed to me then, and I have never changed my opinion, that not in all my experience with anonymous attacks in print had I ever read one in which the name of an honest gentleman had been dragged in the mud in so causeless a manner”

Pages 182, 184 and 185 of Valentino as I Knew Him.

Reading Ullman’s reminiscence we see that if they hadn’t gone to The Blackstone Hotel, or bothered with reading the newspapers there, things may’ve turned out differently. Just as things could’ve been different if S. George Ullman had refused to allow Rudolph Valentino to see the dreadful column after he’d looked at it himself. After all a Manager protects as much as manages — if they’re any good at their job. Being the sceptic I am it all makes me wonder. The timing, right in the middle of issues with United Artists, and, if we believe Mahoney, with Ullman himself, is a little suspect. As is the PPP piece being published on the exact day that Valentino arrived in Illinois. Not the previous day. Not the day after. (It’s as if they knew he’d be there.) Maybe I look too deeply. Or maybe I see what others can’t. I’m not sure. Luther H. Mahoney is clear that on previous occasions Rudolph Valentino failed to take offence. That it was all “water off a duck’s back.” This time he became volcanic. Cool laughter turned to bubbling lava. Did Ullman, contrary to his recollection, stir things up? Did he actually advise him to act? There’s no witness to corroborate his account. And what did he mean about recognising “the same poison pen”? And his “experience with anonymous attacks in print”? The same poison pen? His experience? A classic example of Parapraxis? I’m left wondering. I’m sure I’m not alone.

Rudy responded instantly, on the spot, before leaving Chicago. His answer passed to “a representative” of the offending publication’s rival: The Chicago Herald-Examiner. The thrust of the Pink Powder Puffs piece – that he was influencing young men to wear: “… masculine cosmetics …. floppy pants and slave bracelets…” he sidestepped. Preferring instead to castigate the unknown individual, and challenge him to a one-off, private man-to-man fight in Chicago. If pink powder and outre trousers didn’t feature in Rudy’s response the bracelet did:

“… the wrist under a slave bracelet may snap a real fist into your sagging jaw…”

That Rudolph Valentino never received a reply and was unable to face his critic is very much part of The Legend. As is the fact everyone knew; that he was constantly speaking of it; and was questioned about it in his final weeks of life. We know his frustration led him, with obvious assistance from some quarter, to setting-up his own photographed and filmed contest. And that after his operation, a month after the appearance of the written attack, it was reported his first words were a question: had he, he asked, behaved like a Pink Powder Puff. A week later he was dead. And that was that.

Except that it wasn’t. In the short time between the PPP piece, and his death, Above the Neck Is The Man, Rudolph, was published. Also anonymously written, it was a defence, not only of the mystery writer employed, or not, by The Chicago Tribune, but also of the right of that person to: “… observe life and comment thereon.” More importantly it got to the heart of the matter avoided by the target: Rudy’s undeniable influence upon young men in the USA. As we see:

“… does Rudolph remember? He, being a film actor about whom miles of newspaper columns have been written to adequately describe …. his ability at screen love making, must know that his earning power has been built by publicity probably more than by his histrionic capabilities. Can he forget, if he read the slush, that he was pictured as the pace setter in styles; that he cut his hair to a pointed side-burn; that he wore green suits and pink gaiters to tickle the heart of femininity? Perhaps, it was because his publicity men demanded that and more of him.

Didn’t Rudolph know that when the youth of America adopted his styles and were called ‘sheiks’ that it was money in his pocket and the pockets of those who distribute his pictures? He must have suspected, if he did not know.

And if the indignant Mr. Valentino observed the trend of youth toward cosmetics and vaselined hair, he must have claimed credit or scorned responsibility, just as you please about the issue. Rudolph Valentino lived by the sword of publicity.”

From The San Bernardino Sun, July 31st, 1926.

Green suits? Pink gaiters? A reference to Monsieur Beaucaire (1924)? Regardless, I find Above the Neck Is The Man, Rudolph to be a crucial, overlooked item. And an item that highlights the way in which Valentino was exploited by his “publicity men”. If nothing else it rationalises the situation and contextualises it. Yet I must add I feel it supports the idea Rudolph Valentino was actively encouraged to make a song and dance about the Pink Powder Puffs write up. That the person or persons encouraging him didn’t have a proper perspective on the situation is obvious. Had they they would’ve seen that it was actually a golden opportunity for Rudolph Valentino to embrace and defend his popular appeal. To wrap himself up in it. To own his impact and elevate it, rather than allow the wordsmith to, and diminish it. I have to say I like his first wife Jean Acker’s response at the time: “How silly. Anyone ought to know that every motion-picture player has to use a powder puff!”

Rex_Ingram_slave_bracelet
Rex Ingram, Rudy’s director twice, wearing a Slave Bracelet sometime in the Twenties.

Above the Neck Is The Man, Rudolph doesn’t, when it could’ve, mention slave bracelets on the wrists of Rudy’s contemporaries in Hollywood. (That’s right he wasn’t the only male Star wearing one in 1925 and 1926.) Just a few short months after being given the bracelet by Natacha Rambova, Rudolph Valentino had influenced Jack Gilbert to acquire one. And he can be seen wearing it, in The Merry Widow (1925), filmed during the first half of the next year. My Eagle Eyes have spotted them on a number of others. Erich von Stroheim for example. And even on the wrist of Rex Ingram. That Rudy was singled out for sporting one therefore seems rather odd. Perverse. If fellow film stars and directors at the exact same time weren’t chastised then why was he?

Brando56

The Slave Bracelet continued to be a popular item in the late Twenties and well into the Thirties. It’s popularity driven by a whole new breed of screen star. Ironically it began to embody ruggedness and toughness. Though the men weren’t necessarily more rugged than they’d been in Valentino’s day, the times – it was obviously The Depression – were a whole lot tougher. After the Second World War, alongside the Identity Bracelet (which we saw originated in the previous international conflict), it became more widespread; reaching a peak in the Fifties, when almost every notable male personality appeared to own one. In the Seventies, before, during and after the Disco Era, it was once again much displayed. Before dying a bit of a death in the following decade.

That I owned and wore one myself, for about five or so years in the Nineties, was a total accident. Walking down a city street in Asia one day, in 1994, I noticed on my left, on the ground, on a thick red cloth, a selection of silver items for sale: chains, key rings, rings, etc. After realising that it wasn’t the usual low-quality street jewellery my eye was drawn to the silver bracelets. There were several. The same design, but all clearly individually made, and very striking. I asked to see one and tried it on. It was made of generous links that were obviously hand-made but expertly crafted. It was heavy, but not too heavy to feel comfortable, and it fit me perfectly. For a moment I stood there looking at it glinting in the strong sunlight. Then I said that I wanted it. And it was bought. For a whole half decade I never took it off. I wore it in bed. I wore it in the shower. I wore it day and night indoors and out. I swam with it on. Wore it to restaurants and nightclubs and parties. I wore it wherever I went in the UK and abroad and it never fell off. Not once. I loved it — it was part of me.

Having owned one I understand Rudy’s attachment. And I really do understand because it was bought for me that day by my partner at the time. Ours was a long-distance affair and we were often separated. However I always had the Slave Bracelet to remind me. A solid and very special item. A chain of links that I’d been given by a person who was my everything. Of course nobody made fun of me for wearing it. If anyone ever remarked on it I told them the story, but that didn’t happen very often, maybe once or twice. That I wore it at all is, I believe, thanks to Rudolph Valentino. And even though mine, like his far more precious one, is missing, it’s an everlasting item. Eternal. Living in my memory, and in photographs, like the one that I’ve added to this post.


I’m not sure that The Slave Bracelet requires any kind of conclusion. Did Rudy-of-the-Slave-Bracelets, to answer Robert V. Steele, die prematurely due to the PPP editorial? And because he wore wrist jewellery? For me no. I already looked into his tragic end, some months ago, in The Mysterious Party, and arrived at the supposition he drank something toxic. Hopefully I’ve laid out my findings regarding the origins of the bracelet as an item for men clearly. And shown how it originated as a feminine piece, that became a symbol of union in England, and then, very quickly, a fashionable adornment, a useful war time piece, a trendy Hollywood accoutrement, then, finally, an enduring mark of masculinity and virility. Without a doubt Rudolph Valentino popularised the bracelet in Hollywood in the Twenties. It was after he received it from Natacha Rambova that it began to appear on the wrists of his contemporaries. Yet it was clearly by accident rather than by design. He absolutely didn’t set out to start any kind of mania. Those that he wore afterwards/at the same time were part-and-parcel of the trend he’d begun — a trend that continues to ripple outwards to this very day. Try typing Men’s Slave Bracelet into Google and you’ll see that they’re available in varied designs, in all sorts of metals, and at different price points.

I thoroughly enjoyed writing The Slave Bracelet and I hope that you’ve enjoyed reading it. That you did read it through means a great deal to me. And if you have any questions or information, have something to add, or think I was mistaken about something, I’m very happy to hear from you. See you again next month!