Adoration increased with each Rudolph Valentino film. With the appearance of The Son of the Sheik in the summer of 1926, Valentino worship became feverish.

It was a quiet funeral home in a respectable part of Manhattan, but on August 24, 1926, it was the improbable scene of a near riot. The turmoil broke out among thousands of women, mourning the death of actor Rudolph Valentino, as they attempted to rush the doors at Campbell’s Funeral Church. After several women broke through a large plate-glass window, police were called to the scene.

For the next few days, as contributor Beverly Smith Jr. noted in his Post article “Farewell, Great Lover” (January 20, 1962), the police had their hands full controlling the line of women—estimates vary between 30,000 and 100,000—who waited to file past Valentino’s mortal remains. In a time of mass excitements, he wrote, the Valentino craze lasted longer than most among “the nation’s more susceptible womenfolk, from flappers to grandmothers.”

The surging crowds at Campbell’s gave America its first glimpse at the modern celebrity cult. Until then, America had known actors and musicians who could draw large crowds, but no one had been able to draw so many fans for so many days.

The crowd outside Valentino's funeral—with more men in line than one would expect. From "Farewell, Great Lover!" January 20, 1962.

The Valentino craze began 91 years ago this month, with the premier of The Sheik. Today, it seems like a prehistoric, overacted piece of melodrama. Yet it still offers a vivid reflection of American society as it entered the modern age.

It was remarkably successful, earning $1 million in its first year—five times more than what it cost to produce.

Just as reflective of the year 1921, though, is how the movie became so profitable. The Sheik didn’t work the same old melodramatic formula, offering women another charming hero in another predictable romance. Instead it gave them Hollywood’s first male sex symbol.

The paradigm-shifting flick, as advertised in the pages of The Saturday Evening Post, November 26, 1921.

Rudolph Valentino (i.e., Rodolfo Alfonzo Raffaello Pierre Filibert Guglielmi Di Valentina d’Antonguolla) was an Italian immigrant who’d worked his way across the country with odd jobs, eventually winding up as a ballroom dancer in California. His tango skills helped him land a role in The Four Horsemen of Apocalypse in 1920. The film was a hit, principally due to Valentino’s success in portraying an impulsive, fiery, headstrong “Latin lover.” Later that year, he was chosen to play another exotic lover: Sheik Ahmed Ben Hassan.

Three minutes into the movie, as Valentino appeared before his tent, happily supervising the sale of wives to his tribesmen, many American women began to reconsider their choice of daydreams. Suddenly the old romantic heroes—the rugged lawman, sensitive poet, laughing cavalier, or wealthy sophisticate—were demoted by Valentino’s ability to smolder, pose, look imperious, and break into a boyish grin.

As the Sheik, Valentino’s lustful stare drove women wild in 1921.

Years later, actress Bette Davis recalled, “A whole generation of females wanted to ride off into a sandy paradise with him.” But the Sheik’s paradise wasn’t about sharing poetry and soulful looks while holding hands. It was about sex.

The novel, on which the movie was based, concerned a willful aristocrat, Lady Diana Mayo, who sets out to explore the Algerian desert with no company but an Arab guide. Sheik Ahmed Ben Hassan spies her and, within a chapter, abducts her and rapes her. But apparently it’s all right because Lady Mayo falls in love with him by the end of the book.

The novel is not explicit about the rape, but it leaves the reader in little doubt. (“Her whole body was one agonized ache from the brutal hands that forced her to compliance,” chapter three, The Sheik, Edith Hull, 1919.) The movie is even more careful to avoid direct reference to sexual assault, but the implications are as subtle as a billboard:

“Why have you brought me here?” Lady Mayo demands of the Sheik in his tent.

Lady Mayo, played by Agnes Ayres, in the clutches of Valentino’s Sheik.

He replies. “Are you not woman enough to know?” (See accompanying leer at right.)

The movie played to the liberated spirit of the 1920s. It was the perfect entertainment for a carefree, reckless age. It appealed to women who were celebrating the modern freedoms, the new fashions of the Flapper, bootleg liquor, hot jazz, and the permissiveness to “pet” in the boyfriend’s roadster far in a dark lane, far from parents’ supervision.

The movie also reflected a changing attitude among American men. For the most part, they hated the new male sex symbol, having already committed themselves to the styles of Douglas Fairbanks or Tom Mix. But other men saw the future of American romance in Valentino’s polished, sensual manner and hurried to climb onto the bandwagon. They copied Valentino’s world-weary languor, his smooth manners, his passionate lovemaking, and his thoroughly oiled hair.

Lastly, but unfortunately, the Sheik represents the ambient racism that Americans had come to expect from popular entertainment of the 1920s.

In the book and movie, much is made about the forbidden love between an Arab and a “white woman.” Even love could not be allowed to overcome the social divide of Arab and European. But any plot that worked so hard to unite the lovers could find a convenient solution. The Sheik, it was revealed at last, was not “Arab” but as “white” as Lady Mayo. He had been adopted by the Ben Hassan tribe as a youngster, but was nonetheless the child of an English father and Spanish mother. The happy ending could now proceed. While some women could forgive abduction and assault in 1921, no one felt comfortable with interracial romance.

It might have been the modern age, but American society hadn’t come that far.

How Rudolph Valentino Invented Sex Appeal The Saturday Evening Post

Osborne replies, “Actually, that’s easy: Holiday Inn (1942). … Crosby at age 39 in Holiday Inn is tremendously appealing; you understand why he was such an enormous star.”

From our archives, here’s “Call Me Lucky” by that “enormous star” as told to Pete Martin in 1953.

Click here to download the full article, or read below.

‘Call Me Lucky’ by Bing Crosby The Saturday Evening Post

In Fireproof, Cameron plays a firefighter named Caleb, who is called a hero at work but facing marital strife and burnout at home. The inspiring and action-packed film cost $500,000 to make but as of early February has raked in more than $33 million in ticket sales and is now out on DVD.

While forever linked to his role as the lovable teenage troublemaker Mike Seaver on the award-winning TV series Growing Pains, the actor did an about face in his teens, converting to Christianity and leaving the Hollywood scene behind. In 1991, the former teen heartthrob married his on-screen girlfriend, actress Chelsea Noble. Seventeen years later, the couple—along with their six children—remains happily together.

The Post recently caught up with the actor to learn more about his latest movie, his family, and his faith.

In Fireproof, the firemen emphasize the firefighters’ creed “Never leave your partner behind.” While a theme in the movie, is this also a key to successful marriages?

Absolutely. Never leave your partner behind. Statistics today tell us that more than half of people who say “I do” at the altar end up with a failed marriage before long. In this movie, we wanted to uphold a very, very high standard of marriage in a day when marriage is attacked and undermined in many ways. The writers, producers, and I wanted to say, “No, marriage is honorable, sacred, and wonderful—a foundation for a family.”

Your character lives in a strained relationship on the verge of divorce. Both parties blame the problem on lack of respect. You say, “Marriages aren’t fireproof. Sometimes you get burned.” Do you believe that all marriages can be saved?

If including all possibilities, I would say yes. Now, there are extreme circumstances where marriages are just destroyed beyond hope of recovery. I was talking to a friend the other day who did everything he could possibly do to save his marriage, but his wife was just absolutely set on a divorce. You can’t make somebody love you and stay in a marriage if they don’t want to. But more often than not, both people suffer from the same thing—a chronic case of selfishness. If one person can find what it takes to make an about face and put 200 percent into loving their spouse, the effort can transform a person. Suddenly an antagonistic spouse begins to melt and warm up. Pretty soon, he or she starts to bloom into the flower you married. That’s what love can do. It’s certainly not easy. It takes hard work. For many people today, it’s just so easy to trade in your spouse for a newer model.

Your character, Caleb, questions his faith in the movie. Did he mirror your personal struggles with faith and belief?

Yes. I call myself a recovering atheist. When I was young, I never went to church. We never talked about God — never saw the need for it. Things were going great in my life. I was 9 years old and in the entertainment industry. Growing Pains was going great. I just started asking questions like, What happens when you die? Walking down that path and asking those questions led me to a place where really, with all my heart’s desire, I turned my heart to God and allowed God to make me the person that he created me to be. That has just transformed my life. When I get a chance to share that with people on a personal level or in an inspirational movie like Fireproof, I consider it a privilege.

Was there one central message you wanted to convey in the film?

A line in the movie keeps coming back to me. My character’s wife is talking with her girlfriends, and they’re consoling her. One of the ladies says, “A man has got to learn to be a hero to his wife before he can be one to anybody else.” She’s absolutely right. If you’re getting an A at work and a D at home, you’re not successful. You made a commitment and a vow. I know that marriage is hard and everyone has got their unique situations, but a man has to learn to be a hero to his wife and kids first before he can be a real hero.

What is the “Love Dare” challenge, and how did it translate into a book?

In the movie, the “Love Dare” is the 40-day challenge passed from father to son. It was just a plot device in the movie. There wasn’t a published book titled The Love Dare until after the movie was released, then everyone asked where to get that book. They wrote the book quickly so that they could release it with the opening of the movie. The 40-day challenge is to love your spouse unconditionally. Halfway through the dare, you realize you can’t do it. The standard for unconditional love goes against so much of your feelings, as a person who deals with pride and ego. You soon realize that “I don’t think I can do this without some help.” You then turn to the source of love and the creator of marriage and ask for help me.

Is it true that the film cost about $500,000 and grossed more than $33 million?

Yes. We were all very surprised when it turned out to stay in the top 10 and be the No. 1 independent movie last year. No one expected that. But we were confident that it was going to hit the bull’s eye because the script was great. We had high hopes and good expectations but the film’s success really exceeded what we thought would happen.

Did you donate your time and effort to support a personal mission?

I didn’t have a paycheck. I agreed to donate my time up front, like everybody had done in the move. And Sherwood Pictures — the filmmaker — made a donation to the nonprofit camp for terminally sick children and their families that my wife and I run. It’s called Camp Firefly.

Would you tell us about the camp?

Camp Firefly is a camp my wife and I started when we were working together on Growing Pains. We met many children through the Make-A-Wish Foundation. These were kids with terminal illnesses, who wished to come to the set, meet the cast, and get an autograph. Our hearts went out to these families who were dealing with such tragedy in their lives. We wanted to do more than sign a piece of paper, so we put together an all expenses paid week’s vacation. Then, we invited six of these families to get away from the hospitals, needles, and treatments to simply be together as a family and have fun. Forget about being sick. Be around other families who understand what they’re going through. We spend time together as families, getting to know each other, making new friends, talking about life and death, what’s important and what’s not. It turned out to be a real blessing in our life and in the lives of over a 100 families who had come to camp during the last 20 years. If you go to www.campfirefly.com or www.kirkcameron.com, you can find out all about it.

In Fireproof, you had a physically demanding role. Do you exercise regularly?

It was physically demanding. I like to keep in shape, but I had to gain 15 pounds of good, solid muscle for this movie to not only look the role but to be able to carry some of the equipment and do things I had to do. I followed firefighters before the movie to research and prepare, which was very helpful. When you really realize what firefighters do, the courage it takes, the way that they put their lives on the line for other people, and the discipline to be ready in an instant to rescue somebody’s life while you put your own in danger, they command a lot of respect.

Your wife Chelsea came in for the kiss at the end of the movie instead of the actress playing your wife. What was the reasoning behind that?

When I married Chelsea, it was important for me to reassure her that my love is for her alone, so she didn’t have to worry about me being one of these actors who’s going out with other women. I’m not going to be kissing any other woman but Chelsea. That is a promise I made to my wife regardless of what it did to my career. When we did this movie, the writers were on the same page and thought, Wouldn’t it be great to write this romantic scene that is just screaming for a kiss? Then, the writers would have Kirk’s wife put on the dress and wig the actress was wearing and shoot it in silhouette, so you can’t tell. It allowed me to keep my commitment to my wife and make the movie great and romantic.

Anything coming up in the future that people might want to know about?

I recently wrote and released an autobiography called Still Growing, which is a fun, entertaining journey back into the 1980s. You get a feel for what it was like to be a teen idol and how I wound as I am today.

You and your wife have six kids and been married for 17 years. How do you maintain autonomy from the Hollywood community?

I just really dig being with my family most of all, and I don’t live right in the center of the commotion in Los Angeles. I live in the outskirts. We have a nice, big backyard for our kids, and my life is really about my family. My friends are really not in the industry—a separation that is just healthy overall. Your best friends are not the people you’re competing against in business.

Kirk Cameron: Still Growing The Saturday Evening Post

As millions of fans know, Ben Vereen has been singing, dancing, and acting throughout his celebrated career, earning a Tony Award for his role in the musical Pippin and critical acclaim and nominations for his many memorable performances in more than 60 movies and major theater productions, not to mention guest appearances on many popular TV shows. The actor’s trademark smile and contagious energy continue to win the hearts of audiences nationwide.

Today, Vereen’s on a mission—raising awareness of diabetes, a disease that affects him and more than 23 million other Americans.

Diagnosed with the disease in 2007, Vereen began a personal exploration that prompted him to take on his most challenging role to date—diabetes patient and advocate. Assuming a more visible role, Vereen shares his story as spokesperson for a new campaign Take the Stage for Diabetes Awareness—a national effort designed to help other people and their families successfully live with and manage the disease.

With the help of his physician, Dr. Michael Bush, a leading diabetes expert and professor at the University of California in Los Angeles (UCLA), Vereen is spreading the word. Diabetes certainly isn’t slowing down the veteran actor. In 2009, Vereen is appearing in the musical Mama, I want to Sing!, starring in a Hallmark special, and writing a book—among other projects.

The multi-talented performer shares his experience with the Post, encouraging all people living with diabetes (and those at high risk) to take a more active role in their health and to overcome the fears that many harbor about treatment options.

You have always been so physically active as a dancer, actor, and singer on Broadway and in films. Were you surprised to discover that you had diabetes?

It was a total surprise. I found out during Christmas in 2007. I didn’t know the symptoms of diabetes, but in retrospect I certainly was experiencing the classic symptoms of the disease. For example, I felt lethargic, sat around a lot, and was depressed. I also craved sweets—so much so that I would get up and go out of my house to get candy. I also experienced dry mouth and was urinating very frequently.

Like so many people, I thought it was just a phase that I was going through.

Finally just before Christmas 2007, I passed out after delivering a speech. My daughter was with me at the time and said, “Dad, let’s go to the hospital and check this out.” I didn’t want to go to the hospital. I said, “No, it’s probably just something I ate.” She replied, “No. Let’s check this out.” So we went to the hospital, and they kept me overnight. After measuring my blood sugar levels, they said, “Mr. Vereen, you have diabetes type 2.” I looked around the room and thought that they were talking to someone else.

First, I experienced shock, then denial. I was scared and confused. Initially, I didn’t know what to do. Like so many others, I knew that I needed to exercise and stop eating sugar and other foods. But I wouldn’t do it. Then, the red flag goes up, and all of a sudden you’ve got to stop now.

Eventually I realized, “Wait a minute: this is a blessing. God gave me this body—the temple that is my vehicle through life, and I’ve got to take care of it now.”

Many people first try diet and oral medications. What treatment regimen did they recommend to bring your disease under control?

In the hospital, they put me on insulin right away, because my sugar level was out of control. But I’ve met many people with diabetes who are not on insulin: some watch their diets and exercise, while others take oral medication. It’s different for each of us.

While people with diabetes receive an overview of what to eat, they often don’t really buy it all. After getting out of the hospital, I went to the grocery store and thought, “I can’t eat anything.” But as education steps in, you start reading labels.

When playing in Las Vegas at the Sun Coast Hotel, my daughter told event organizers in advance that I had diabetes and advised them not to put candies and cakes in my room like they usually did.

One of the stagehands came up to me and said, “I understand you’ve been diagnosed with diabetes. I have it, too. I’m going to help you get through this. You can live with this disease. In fact, I’ve lived with it for 30 years. We’re in the wings and watching you. Don’t worry.”

Those were the first enlightening words I heard.

The next day I went to my doctor, Dr. Michael Bush at UCLA, who explained what to do. He advised me to take my medication and suggested ways to make better food choices and incorporate exercise into my life. We discussed the importance of daily blood sugar monitoring and ways to ensure that I reached my treatment goals.

Once aware, I became empowered. I was committed to educating myself about diabetes and worked to manage my blood sugar levels properly, so my diabetes didn’t control me. I know now what to do. Everyone who has diabetes—each one of us—is different. What is right for me might not be right for you.

Diabetes is epidemic in the United States. You were surprised by your diagnosis. Might other people also be surprised to learn that they may also be at high risk for diabetes?

If it happened to me, it could happen to anybody. We live in a better time now. During the debates, President-elect Obama said we’ve got to do something about diabetes in this country. Think about it: almost 24 million people in America are living with diabetes, and six million don’t even know they have it. Every 21 seconds, another American is diagnosed—13 percent in the African-American community.

When I was diagnosed, I was already scheduled to do a concert for juvenile diabetes. When I went on stage, I was coming now as part of the family. I’m part of the “diabetes” community.

Many people discover the disease runs in the family. Was there a family history of diabetes?

Yes, it does run in my family, but it doesn’t necessarily have to.

We found out that it doesn’t matter if there is a family history, diabetes can “jump on” you at any time.

Reading food labels and learning the delicate balancing act that comes with diabetes management can be difficult. How did you learn?

Education. I had to learn. I watched my blood sugar. Of course, my doctor helped me a great deal. Once you begin to know your body then you can tell what works for you. Checking your blood sugar is very important, even if you do not have diabetes. I learned by accident. I advise people to talk with their doctors and have your blood sugar checked during your routine checkup.

What is your personal strategy in coping with diabetes?

My whole new approach is to change the dialogue about diabetes. Instead of saying we’re suffering with diabetes, I say that we’re living with diabetes. Instead making diabetes a challenge, it represents an opportunity.

You’re a stage performer. Do you experience low sugar episodes?

I keep juice on the stage just in case, and my staff is now aware so they watch me. I take care of myself.

Your stage assistants and colleagues are like family. Wouldn’t the same principle apply for any family with a member coping from diabetes?

Exactly. If someone in the family is diagnosed with diabetes, the family should talk with the doctor and ask, “What can we do?” The family can become involved to encourage them (and themselves) to eat better and exercise more. It really is a family affair.

You’re a very busy man. Why step forward to raise awareness?

We’ve got to do something about diabetes—shine a light on the disease and take it to center stage. Diabetes is not a death sentence. We need dialogue about the disease. We’ve got to get in touch with other people about what it is like to live with diabetes, so they can live a better life as well.

Life is good.

Remember, the first step to successfully managing diabetes is committing to your health and talking to your doctor about your individual blood sugar goals, as well as exploring all available treatment options. I began managing my blood sugar levels so that diabetes did not stop me from doing the things I love. And so can you. Don’t let diabetes stop you from doing the things that you love either.

Take the stage, and act on your diabetes today! Check, ask, and become aware. It’s your life.

For more information, visit bensdiabetesstory.com.

For Ben Vereen, Diabetes Take Center Stage The Saturday Evening Post