In line with Charlie’s approval come the words of another man I know, a man well-read, cultured, and charming. “Any one who thinks Valentino is an illiterate young foreigner with a handsome face and a talent for dancing is mistaken”--so protests this witness. “I know him well and I am always interested in his comments on life and work. You’ve got to remember that ‘Rudy’ doesn’t come from the lower classes in Italy. His father was a scientist and his family connections are with professional people.” “The Four Horsemen” carried not only Valentino high into the ether of popular success. Although Rex Ingram had made successful pictures before this, he had never so thoroughly demonstrated his capacity for that difficult union of finely knit narrative and sweep of vision as did he in Ibañez’s masterpiece. To my mind the skill with which the personal element is presented against the background of great epic disaster places Ingram in the very foremost rank of screen directors. As for Alice Terry, her rôle of the wife in the story afforded her the first satisfactory avenue for that exquisite something which differentiates her. The story of Alice Terry has the same fairy-tale quality as Valentino’s own. Like him, she had worked hard as an extra for many years, and the hard work had resulted in little recognition. However, discouraging as had been her experience, it was not without results. For Rex Ingram happened to see her in New York when, as a girl still in her mid-teens, she played with Bessie Barriscale in “Not My Little Sister.” The promise which she gave impressed the young director almost immediately. When, indeed, he moved from New York to the Coast he welcomed the fact that she, too, had shifted from East to West. Had it not been for the War, in fact, Alice Terry would probably have been his leading lady some years before. When Ingram on his return from overseas service finally located the job which put a roof once more over his head and civilian clothes again upon his back, he was to resume his slight acquaintance with Miss Terry. For she came to his office then and applied for a position as script girl, the functionary who, working on the set, chalks off the scenes as they are made and notes the new ones extemporised. [Illustration: RUDOLPH VALENTINO The most talked-of personality the screen has ever known.] [Illustration: MAURICE MAETERLINCK Who journeyed from Paris to Hollywood for Mr Goldwyn.] He looked at her in amazement. “What,” cried he, “you don’t mean to say that you’ve given up acting, do you?” She looked at him somewhat sadly. “Oh, dear, yes,” she replied. “I did that some time ago. It was too discouraging--I wasn’t getting any place, you see. No matter how hard I worked nothing seemed to come of it. And of course being an extra or getting some bit now and then doesn’t keep you. So I decided I’d just get a regular job.” “And what have you been doing since?” inquired Ingram.