New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1922-07-02
Valentino Is Star,
Public Thinks, but
He Isn't-Omciallv

public Rodolph Valentino has been a
star for many months. The fact that
he is not star and will not be until
August would appear Incompetent
sible to those who have seen his name
in large electric lights.
When, at the Rivoli Theater, at the
first afternoon performance on that
date, the projection machine begins to
unrecl his newest picture, Blood and
Sand" Valentino will become a star
officially. Until that moment, except
for the wording of his most recent
contract with Paramount, he stands
without considering the public's diff
ference of opinion-merely as a feat
ured player.
Blood and Sand" is the first pic
ture in which his name is heralded in
the largest type. Now it is q case of
"Rodolph Valentino in -" rather
than Gin much smaller type) g.
with Rodolph Valentino"
GAS far as the public is concerned"
explains Fred Niblo, who directed the
picture, "the difference is very slight
whether it is 'in or with so long a,
they see the person they want to see
on the screen. That, after all, is the
thing which makes a star. The size OF
the type means little, but the demand
OF the public means much"
incidentally, during the time which
has elapsed since he first became an
actor, Valentine has seen many pic
lures in which he had only small roles
reissued featuring him. In that case
large type meant much-for the pro-
oucers who were lucky enough to en-
gage him early in his career.
After being featured with Apnes
Ayres In THE sheik," Dorothy Dalton
IN Moran of the Lady Lefty" and
Iioria Swanson in Beyond the
ROCKS" all Of them Paramount pic
lures, Valentino was awarded his first
opportunity as a full-hedged star. So
that there might be nothing lacking in
his official debut Famous Players
Lasky purchased the rights to the
lbanez story BLOOD and Sand" Jane
Mathis, who adapted the Ibanez story
The Four, Horsemen of the Apoca-
lypse," In which Valentino made his
first hit, was retained to write the
scenario; and Fred Niblo, who directed
Douglas Fairbanks in "The Three Mus
keteers" and Tho Mark of Zorro" was
engaged to direct the picture. Blood
and Sand" has recently been COM
pleted, and the work Of cutting the
film to story length is now under way.
ut was a wonderful story to pro-
duce," says Niblo, "for it has all the
gorgeous, colorful elements which a
romance should have. There is action
IN every moment Of the story, and all
Of the action is tied up closely with
the human passions Of the characters.
"The difference between a real story
such as Blood and Sand and an un-
real story is that in the latter all the
action is synthetic. You see action
and lots Of it, and you know that none
Of it Is animated by human emotions
of love, jealousy, etc. You see one
man knock another man down. but, to
use Goldberg's phrase, it doesn't mean
anything.
"Ibanez has the power Of telling his
story so that you can't help but be-
lieve his characters and sympathize
with them in their troubles. With
Valentino, Mia Naldi and Lila Lee in
the principal roles, and the drama of
their love triangle taking place against
the gorgeous, exciting background Of
the bull ring, the picture could not
be anything but dramatic and thrill
ing.
"Valentino is one Of the most sensi-
tive, responsive actors with whom 1t
has ever been my good fortune to
work. He has remarkable instinct
for acting which makes his character
ization Of Gallarde, the bull fighter,
stand out as the best work he has