La Stampa, 24 agosto 2026
Lacrime, urla, svenimenti e suicidi. Molti. I funerali di Rodolfo Valentino, morto cent’anni fa
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Valentino
di Fabrizio Accattino
La Stampa
Il giorno in cui Hollywood morì era un lunedì d’agosto di cento anni fa. Da una settimana una folla cingeva d’assedio il Policlinic Hospital, dove Rodolfo Valentino era entrato d’urgenza a Ferragosto. Era a New York per l’anteprima del suo ultimo film, Il figlio dello sceicco. In preda a un forte mal di stomaco, era collassato nel suo appartamento all’Hotel Ambassador, su Park Avenue a Manhattan. La diagnosi fu ulcera perforata evoluta in peritonite. L’operazione era riuscita e tutto pareva destinato a rientrare, ma quel 23 agosto del 1926 subentra un’infezione cardiaca. Alle 12.10 il suo cuore si ferma.
Si chiude a 31 anni la vita del primo, vero divo del cinema e ha inizio il primo, gigantesco spettacolo del dolore della cultura di massa. Una sorta di festa funebre, in cui gli elementi carnevaleschi si mescolano alla curiosità morbosa. La notizia della morte scatena lacrime, urla, svenimenti. Sotto l’ospedale due donne tentano il suicidio, fermate dai presenti. Nei giorni successivi si uccideranno in 45, tra cui una ragazza londinese che si avvelena davanti a una foto dell’attore e un fattorino dell’ascensore del Ritz di Parigi, trovato morto su un letto coperto di immagini di Rudy.
La salma viene esposta nella cappella dell’agenzia funebre Frank E. Campbell, sulla Broadway, all’altezza della 66ª Strada. Fuori sono in 30 mila a premere per entrare, scatenando tafferugli, infrangendo le vetrine della casa funeraria. Seguono scontri con la polizia, feriti, auto danneggiate e persino ribaltate. La situazione degenera al punto che vengono mobilitati più di cento agenti a cavallo, insieme alle riserve della polizia di New York.
Dentro si sfila al ritmo di 9 mila visitatori l’ora, immersi in una scenografia kitsch, con migliaia di fiori ammassati intorno alla salma. L’ultima amante di Valentino, Pola Negri, piange e sviene, sviene e piange, cercando di accreditarsi agli occhi dell’opinione pubblica come la vedova inconsolabile. Quattro uomini in uniforme militare se ne stanno agli angoli della bara, impegnati a salutare romanamente. Vengono presentati alla stampa come guardie fasciste, inviate da Mussolini per onorare l’illustre italiano scomparso, ma è solo una trovata pubblicitaria dell’impresario funebre. Per la sua morte i quotidiani titolano a caratteri cubitali e il New York Times scrive: «Nemmeno la scomparsa di importanti uomini di Stato ha mai suscitato tanto clamore quanto quella di Rodolfo Valentino».
L’ironia paradossale è che tutta quella folla (si stimano 100 mila persone) piange un uomo che non ha mai conosciuto davvero. La loro venerazione è rivolta a un’immagine, un fantasma. Perché Rodolfo Pietro Filiberto Raffaello Guglielmi di Valentina D’Antonguella non aveva nulla del personaggio che di lui restituiva il cinema. Era nato a Castellaneta, nel Tarantino, il 6 maggio 1895. Da bambino era bullizzato perché bruttino e con le orecchie a punta, fu anche scartato dall’Istituto nautico per problemi fisici e di vista. Nel novembre 1913 si era imbarcato sul mercantile Cleveland, per cercare fortuna negli Stati Uniti. Lì aveva lavorato come sguattero, lavapiatti, giardiniere, ballerino a pagamento, vivendo di espedienti, dormendo sulle panchine, facendosi arrestare due volte per piccoli furti. Avrebbe potuto rimanere uno dei tanti, ma arrivò il cinema e lo trasformò in qualcos’altro. Alcune comparsate da seduttore latino, poi la svolta nel 1921 con I quattro cavalieri dell’Apocalisse, in cui una scena di tango lo trasformò in una rivelazione. Nello stesso anno, Lo sceicco fece il resto. Valentino divenne il volto del desiderio esotico ed erotico, lo sceicco predatore in grado di ingenerare a un tempo paura ed eccitazione, il tanguero sensuale, il Grande Amante misterioso capace di sedurre con uno sguardo. Seguirono Sangue e arena, Monsieur Beaucaire, L’aquila nera.
Valentino era diverso dagli eroi americani del suo tempo. Non aveva il volto duro del conquistatore, forgiato dal lavoro, dalla durezza e dalla disciplina, ma portava sullo schermo una mascolinità diversa, profumata, elegante, sfuggente. Le donne impazzivano per lui, gli uomini (gelosi) lo liquidavano con sarcasmo. Riuscì a costruire un rapporto diretto con l’immaginario di milioni di persone. Prima di lui esistevano attori celebri, dopo nacque il divo come prodotto globale, alimentato da agenti, giornali, fotografie, pubblicità, gossip. Un linguaggio che oggi riconosciamo nelle popstar e negli influencer, capaci di trasformare i loro gesti in un evento mediatico. Ogni fotografia, ogni matrimonio, ogni intervista di Rudy diventava materia di discussione.
Valentino non ha mai parlato, e grazie a questo il suo mito ha attraversato un secolo senza incrinarsi. Se n’è andato in tempo, prima del sonoro, prima che qualcuno potesse sentirlo e accorgersi della realtà attraverso la sua voce. È rimasto per sempre una silhouette in smoking, uno sguardo scuro, un ciuffo impeccabile. Quando morì, Hollywood morì con lui. E poi rinacque, più forte e più cinica, consapevole che un divo funziona meglio come superficie che come persona. Il fenomeno si sarebbe ripetuto con Marilyn e James Dean, River Phoenix e Heath Ledger, ma fu la morte di Valentino a codificare il modo in cui, nei decenni a venire, avremmo pianto i nostri divi.