While I busy myself turning my mammoth look at Jean Acker’s life and career, and her life-long association with Rudolph Valentino, from a three part post to a four part post, an opporunity presents itself for me to reshare my hour long chat about Rudy on local radio last year. The interviewer, Alan Porter Barnes, quizzes me during the sixty minutes, about how I first became interested in Valentino, allows me to talk about my travels, my Blog, Rudolph’s amazing career and some of his most important films, and asks me about my planned book about the Immortal Superstar. Along the way we play no less than four related tunes: Rudy singing Kashmiri Song (Pale Hands I Loved), The Beatles singing The Sheik of Araby, The Bangles singing Manic Monday, and Years and Years and MNEK singing Valentino.
The interview and the four tracks can be heard in full here:
According to Max Saunders, in his Ford Madox Ford biography, Ford Madox Ford: A Dual Life: Volume II: The After-War World (1996), in the July of 1925, Jean Rhys, the Writer, left Paris on what she’d been told was a fast train, but actually turned-out to be a slow one. Her ultimate destination: The Azure Coast or Cote D’Azur/Costa D’Azur (aka The French Riviera). Specifically: Juan-les-Pins.
The reason for her uncomfortable journey, in the heat of Summer, was a commission to assist a wealthy American woman, a Mrs. Winifred Hudnut, with writing a book about reincarnation and furniture. (It was, it appears, Mrs. Hudnut’s firm belief, that: “… happiness could be reached by living in the same costumes and decors of your previous lives.”) That Rhys was unable to type, or take shorthand, and wasn’t in-any-way-shape-or-form acquainted with the twinned subjects, doesn’t seem to have made much difference. And her stay of about eight weeks or so, at the Hudnut’s impressive mid. Nineteenth Century mansion, Chateau de Juan les Pins, was a fairly pleasant one. Her Hostess, and Host, Dickie Hudnut (cosmetics and fragrances Tycoon, and step-father to Natacha Rambova, the second wife of Rudolph Valentino), taking excellent care of her. Or so it seemed.
It turned out the first project and a second – Mrs. Hudnut required Miss Rhys to ghost write a book of fairy tales too – never reached fruition, due to her being paid a pittance, or the uninvited attentions of Mr. Hudnut, or both. (Natacha’s ‘Uncle Dickie’ apparently enjoyed kissing her on the way to and from the Casino at Monte Carlo each weekend.) And Jean Rhys returned to the French capital and the arms of her Lover Ford Madox Ford. However, the experience wasn’t wasted. And just two years later, in 1927, Rhys published a collection of stories titled: The Left Bank and Other Stories, featuring, as the twentieth tale, At the Villa d’Or. A compact yet richly detailed, thinly veiled look, at not just the Hudnuts themselves, but also life at their gorgeous sanctuary.
I’d known about At the Villa d’Or for quite some time and had been unable to access it anywhere. Both the 1927 collection, and a 1987 publication by Penguin, Jean Rhys the Collected Short Stories, eluded me. And the story was absent from any other published selection. So I was extremely pleased, last year, to learn that Penguin Modern Classics had issued a reprint of the Eighties book in 2017. Having now read it, it in my opinion gives invaluable insight into two important people in Rudy’s life, as well as his possible favourite home from home. The six page story takes us beyond the passages devoted to the chateau in biographies. Just as it brings to life surviving images. We see them before us. Hear them speak. And get a good sense of their inclinations.
Of course it was necessary under the circumstances for Rhys to make some serious alterations. Jean herself becomes Sara (Cohen) of Montparnasse (a singer rather than an author). Mrs. Winifred Hudnut and Mr. Richard Hudnut become Mr. and Mrs. Robert B. Valentine. Paul Ivanovitch the artist – another guest in 1925 – becomes Yvan Pauloff. And one of the important servants becomes Charles. Though Uncle Dickie, as Bobbie Valentine, was transformed into The Boot-Lace King, he talks to her, as Sara, about “the curve of a bottle”, and also explains how he started life “in a chemist’s shop”. Meanwhile, Winifred, despite the name change, appears to be untouched — decorative, talkative and filled with concern.
I suspect Rudolph Valentino had already died by the time Jean Rhys completed At the Villa d’Or; hence the use of a variant of his professional surname for the slightly disguised Hudnuts. Natacha Rambova makes a fleeting appearance, offstage, as Mrs. Valentine’s unnamed, but extremely famous Movie Star daughter; who, like the conspicuously absent Rudolph Valentino, receives “a thousand love-letters per month” and was “mobbed” in London. (Rhys didn’t bump into either Valentino or Rambova, due to the pair being on the West Coast of the USA at the time, and about to split up.) Anyway, I reproduce here the entire story, and hope that it’s as enjoyable for those who read it as it was for me. Added, you’ll see, are a couple of helpful illustrative images.
At the Villa d’Or
Sara of Montparnasse had arrived that afternoon at the Villa d’Or, and it was now 9:30 P.M.; dinner was just over, it was the hour of coffee, peace, optimism.
From the depths of a huge arm-chair Sara admired the warmly lovely night which looked in through the open windows, the sea, the moon, the palms — the soft lighting of the room.
The very faint sound of music could be heard from the distant Casino at intervals, and on the sofa opposite Mrs Robert B. Valentine reclined, dressed in a green velvet gown with hanging sleeves lined with rosy satin. Mr. Robert B. Valentine, The Boot-Lace King, sprawled in another huge arm-chair, and five Pekinese [sic] were distributed decoratively in the neighbourhood of Mrs Valentine. It might have been the Villa of the Golden Calf.
‘And very nice too,’ thought Sara.
Charles came in to take away the coffee-tray, and to present Mr Valentine with a large, blue book.
Charles was like the arm-chairs, English. He was also, strange to say, supple, handsome, carefully polite. But then Charles was definitely of the lower classes (as distinct from the middle).
‘The Chef is there, sir,’ said he — and ‘Anything more, Madame?’
‘Nothing, Charles,’ said Mrs Valentine with a hauteur touched with sweetness.
Charles retreated with grace, carrying the tray. He looked as though he enjoyed the whole thing immensely. His good looks, his supple bow from the waist, his livery . . .
‘It must be fun,’ thought Sara, ‘to be butler in a place where everything is so exactly like a film.’
Mrs Valentine’s daughter of Los Angeles, Cal., was the most famous of movie stars. She received a thousand love-letters per month. In London she was mobbed when she went out . . . There was a glamour as distinct from money over the household . . .
Mr Valentine put on horn-rimmed spectacles and opened the blue book which told of risotto of lobster, of becassine glacee sur lac d’or, of green peppers stuffed with rice.
After a prolonged study of it he announced like some saint turning his back on the false glitter of this world:
‘He’s got haricots verts down for to-morrow, darling — wouldn’t you like some rice for a change?’
Mr. Valentine was a vegetarian, a teetotaller, a non-smoker, and example of the law of compensation like most American millionaires.
Mrs Valentine moved a little impatiently on her sofa, and through her dignified charm, pierced a slight fretfulness.
‘I’m just dead sick of rice, Bobbie,’ said she. ‘Couldn’t we have some ham for a change?’
‘He says he can’t get a ham,’ said Mr Valentine doubtfully. ‘He says he’d have to send to Paris for a ham.’
The lady sat up suddenly and announced with energy that it was all nonsense, that she had seen lovely hams in the corner shop in Cannes — that anyone who couldn’t get a ham in Cannes couldn’t get one anywhere.
I’ll speak to him, darling,’ Mr. Valentine told her soothingly.
He got up and walked alertly out. He wore a purple smoking suit and under the light his perfectly bald head shone as if it were polished. He was extremely like some cheerful insect with long, thin legs.
When he’d gone, Mrs Valentine leant back on to her sofa and half closed her eyes. She was such a slender lady that, sunk into the sofa cushions, she seemed ethereal, a creature of two dimensions, length and breadth, without any thickness. Her shoes were of gold brocade and round her neck glittered a long necklace of green beads with which she fidgeted incessantly — her hands being white and well manicured, but short, energetic and capable, with broad, squat nails.
A Romantic, but only on the surface; also an active and energetic patroness of the Arts, fond of making discoveries in Montparnasse and elsewhere.
So Mr Pauloff, a little Bulgarian who lived in Vienna, occupied a sumptuous bedroom on the second floor. He painted.
Sara, who sang, was installed on the third floor, though, as she was a female and relatively unimportant, her room was less sumptuous.
‘It makes me feel sad, that music in the night.’ declared Mrs Valentine. ‘The man who is singing at the Casino this week is Mr van den Cleef’s gardener. Isn’t it just too strange? A Russian –a prince or something. Yes. And he only gets –what does a gardener get? I don’t know — so he sings at the casino in the evening. Poor man! And so many of them — all princes or generals or Grand Dukes . . . Of course most unreliable . . . Why, my dear Miss Cohen, I could tell you stories about the Russians on the Riviera — Well! Strange people — very strange. Not like us. Always trying to borrow money.’
She went on to talk of the Russian character, of her tastes in music, of Mr Valentines eighteenth century bed, of the emptiness of life before she became a spiritualist, of automatic writing.
‘Yes, yes,’ said Sara patiently at intervals.
After all, this was a tremendous reaction from Paris. In Paris one was fear-hunted, insecure, one caught terrifying glimpses of the Depths and the monsters who live there . . . At the Villa d’Or life was something shallow . . . that tinkled meaninglessly . . . shallow but safe.
Through Mrs. Valentine’s high-pitched drawl she strained her ears to hear some faint sound of the sea and imagined the silken caress of the water when she would bathe next morning. Bathing in that blue jewel of a sea would be voluptuousness, a giving of oneself up. And coming out of it one would be fresh, purified from how many desecrating touches.
Poor Sara . . . also a Romantic!
As Mrs Valentine was describing the heroism of a famous American dancer who acted as a secret service agent during the war and averted a catastrophe to the Allies by swallowing documents at the right moment, Mr Pauloff and Mr Valentine came in.
‘Well, I’ve told him about that ham, darling,’ said the Boot-Lace King brightly.
He added in a lower tone: ‘Yes, nood, but not too nood, Mr Pauloff.’
‘There will be a drapery,’ the Bulgarian assured him.
Mr Pauloff had painted Mrs Valentine two years ago surrounded by her Pekinese [sic], and made her incredibly beautiful. Then he had painted Mr. Valentine with exquisite trousers and the rest, brown boots and alert blue eyes.
He was now decorating the panels of Mr Valentine’s bedroom door with figures of little ladies. And a tactful drapery was to float round the little ladies’ waists. After all he had been a court painter and he had learned to be miraculously tactful. A polite smile was always carved – as it were – on his ugly little face; in his brown, somewhat pathetic eyes was a looked of strained attention.
‘In courts and places like that,’ as Mr Valentine said, ‘they learn nice manners. Well I guess they just have to . . .’
‘I understand, I quite understand,’ the artist said diffidently, but with finality, ‘I will drape the figures.’
Then he [handed] a bundle of press-cuttings which he was holding to Sara and asked if she could read them aloud.
‘You have so nice, so charming a voice, Miss Sara.’
Sara, overcome by this compliment, proceeded to read the cuttings which were form the English papers of fifteen years before.
‘Mr Yvan Pauloff, the famous Bulgarian artist . . .’
As Sara read Mrs. Valentine closed her eyes and seemed to sleep, but Mr Valentine, crossing his legs, listened with great attention; as to the artist himself, he heard it all with a pleased smile, fatuous but charming.
Then he went — radiant — to fetch some photographs of his most celebrated pictures. Mr Valentine said quickly:
‘You see, deary, there you are; he is a great artist. His name on a picture means something — means dollars.’
Mr Valentine muttered something, and walking to the window surveyed the view with a proprietor’s eyes.
‘Come out onto the terrace and look at the stars, Miss Sara,’ said he. ‘Now that star there, it’s green, ain’t it?’
‘Quite green,’ she agreed politely, following him out.
He glanced sideways at her, admiring the curves of her figure — he liked curves — the noble and ardent sweep of her nose — that saving touch of Jewish blood!
He proceeded to pour out his soul to the sympathetic creature:
‘My wife’s always talking about Art. She thinks I don’t understand anything about it. Well, I do. Now, for instance: Bottles — the curve of a bottle, the shape of it — just a plain glass bottle. I could look at it for hours . . . I started life in a chemist’s shop — I was brought up amongst the bottles. Now the pleasure I get in looking at a bottle makes me understand artists . . . D’you get me?’
‘Why, that’s absolutely it,’ said Sara warmly in response to the note of appeal in his voice. ‘You understand perfectly.’
‘Would you like to come to Monte with me Sunday?’ asked Mr Valentine in a lower tone, grasping Sara’s arm above the elbow. ‘I’ll teach you to play roulette.’
‘Yes, it would be fun,’ said Sara with a great deal of enthusiasm.
From inside the Villa came the sweet and mocking music of ‘La Berggere Legere’.
And there’s my wife playing the Victrola — Time for my billiards,’ chirped Mr Valentine.
He went briskly up the steps and hauled away an unwilling Mr Pauloff to the billiard-room.
‘Sometimes,’ said Mrs Valentine to Sara, ‘I play the Victrola for hours all by myself when Bobbie is in the billiard-room, and I think how strange it is that lovely music — and the voices of people who are dead — like Caruso — coming out of a black box. Their voices — themselves in fact — And I just get frightened to death — terrified. I shut it up and run upstairs and ring like mad for Marie.’
The marble staircase of the Villa d’Or was dim and shadowy, but one or two electric lights were still lit near the famous (and beautiful) portrait of Mrs Valentine.
‘When I see the portrait,’ said the lady suddenly, ‘I’m glad to go to bed sometimes.’
In her huge bedroom where the furniture did not quite match, where over the bed hung a picture representing a young lady and gentleman vaguely Greek in costume, sitting on a swing with limbs entwined in a marvellous mixture of chastity and grace — this was a relic of the days before Mrs. Valentine had learned to appreciate Picasso — Sara opened the windows wide and looked out on the enchanted night, then sighed with pleasure at the glimpse of her white, virginal bathroom through the open door — the bath salts, the scents, the crystal bottles.
She thought again: ‘Very nice too, the Villa d’Or.’