Valentino Masculinity

Rudolph Valentino and the Redefinition of Masculinity While art can be interpreted in many ways, an important function of art is to reflect the society in which it is produced. Throughout history, an artist has expressed his or her society’s values, beliefs, and culture through paintings, sculptures, books, and countless other forms of expression. Motion picture is no exception. Over the past century, American film has reached a level of prominence that from the view of much of the world it is nearly indistinguishable from American culture itself. As such, film has captured American values of the 20th century as they evolved and morphed over time. One of the most important changes can be seen through the works and image of Rudolph Valentino.

In all their films, Valentino’s character begins the film damaged in some way, either losing someone close to him or losing a vast fortune (Slater 100). In some films, such as The Four Horsemen of the Apocalypse and The Young Rajah, Valentino’s character rejects the advice of male figures to seek material wealth and instead relies upon the guidance of female figures to find spiritual peace. In other films, such as Camille and Blood and Sand, Valentino’s character gives in to his greed and desire, and in doing so alienates himself from the woman he cares about. The message Mathis is trying to send is clear: masculinity founded on selfishness and violence can only stifle relationships and lead to isolation, whereas rejection of those evils led to inner peace and satisfaction (Slater 100). In all the films, however, Valentino’s character struggles to find his identity, and in some he dies without ever truly resolving his internal struggle. This new, painful portrayal of masculinity reflects the brokenness and inner turmoil of soldiers returning from World War I that defined a generation of men. In general, the combination of Valentino and Mathis led to a radically different view of masculinity than in the pre-war