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The author, Miles Mathis, presents a theory that silent film star Rudolph Valentino did not die in 1926 as reported, but rather faked his death. Mathis argues that Valentino, whose real name was Rodolfo Pietro Filiberto Raffaelo Guglielmi di Valentina d’Antonguella, was not Spanish but Italian, and possibly of Jewish noble descent, suggesting his rise in Hollywood was facilitated by this background. He challenges the official story of Valentino’s ancestry, pointing to the name “Barbin” as a deliberate misdirection from his mother’s Bourbon lineage, connecting him to Alsace and Wildenstein.
The text recounts Valentino’s alleged early struggles in New York and his subsequent association with Brazilian heiress Blanca de Saulles, nee Blanca Errazuriz Vergara, who later shot and killed her husband. Mathis suggests Valentino’s mother was a lady-in-waiting to the Marchesa of Castellaneta, implying a noble connection and a potential familial link to actor Mario Carillo through the Caracciolos and Orsinis. The author also highlights Belfort’s historical ties to Austria, Napoleon, and the Bourbons as another clue to Valentino’s ancestry. The name “di Valentina d’Antonguella” is theorized to be a fabricated version of “Valentini di Laviano,” linked to the Bonapartes and thus again to the Bourbons.
Mathis finds Valentino’s burial arrangements suspicious, noting his lack of US citizenship and the unconventional handling of his remains, with screenwriter June Mathis (nee Hughes) allegedly offering a crypt she shared with her husband, Silvano Balboni. The author claims June Mathis’s divorce from Balboni was misrepresented.
The text further suggests Valentino’s death was faked to escape Hollywood contracts, possibly due to pressure from a lover or blackmail related to his rumored homosexuality. His audience was primarily women and gay men, and a public outing would have ended his career. The author dismisses the official cause of death, “Valentino’s Syndrome,” as a fabricated illness. The funeral itself is presented as a staged event, with hired actors for “Blackshirt Honor Guards” sent by Mussolini and a substitute body used, according to many witnesses. The funeral director, Frank Campbell, is noted for specializing in “fake funerals for Phoenicians” and serving prominent clients like John Lennon, Heath Ledger, Notorious BIG, Robert Kennedy, Philip Seymour Hoffman, Aaliyah, Basquiat, Joan Rivers, and Judy Garland.
Second and third funerals are mentioned at St. Malachy Catholic Church in Manhattan and the Church of the Good Shepherd in Beverly Hills, both described as places where Jews can “pretend to be Catholics.” The Chapel of St. Genesius, patron saint of actors, is also discussed. Finally, Valentino’s lover is identified as actor Norman Kerry, whose real name was Norman Hussey Kaiser, further linking him to Jewish nobility and prominent families.