Valentino felt he had underperformed in the film, being upset over his separation with Rambova.

George Ullman, who had negotiated the contract with United Artists, offered Rambova $ 30, 000 to finance a film of her own.

Around this time Rambova fell for the 32 year old Kosloff ( who had a wife and an invalid daughter in Europe ) and the pair began a tumultuous love affair.

Nazimova was impressed and when she asked for revisions to some costumes, Rambova took out a pencil and began to make the revisions, showing that she had done the work.

By 1922 Rambova had left Metro to join Nazimova on her artistic productions.

Before their marriage a public controversy over pictures Rambova had taken of Valentino, dressed up as a faun or pan-like God.

The pictures had been taken by Rambova as part of a series of faun pictures for a magazine called Shadowland, that featured art and dancer photos.

By 1924 Rambova had negotiated a contracted with J. D.

Rambova blamed the story, which she claimed had a war element when they originally agreed to make the picture ; but the studio removed it fearing it would offend European audiences.

With her husband in Mallorca, Rambova began a business of buying up old villas and modernizing them for tourists ; a venture she financed with her inheritance from her stepfather who had died in 1928.

Rambova loathed the world of high society, and even though her mother had married well she refused to live off her stepfather's money, insisting on making her own living.

Valentino was said to be shocked when he first viewed her parents ' lavish home, as Rambova had never spoken of their wealth.

When Valentino died Rambova wrote a book about the time she had spent with him, and also her claims to be in contact with him in the afterlife via psychics.

Kosloff had several lovers, and took credit for all their designs and work he would ask them to do, including Rambova.

However Kosloff was controlling and abusive, and Rambova had to proceed in secret as Kosloff would do anything to keep her in his ' harem '.

Rambova had been sent to New York by the studio before Valentino's jailing, and was informed at a stop in Chicago.

Valentino cherished old world ideals of a woman being a housewife and mother, while Rambova was a feminist who wanted to continue to work and had no plans of being a housewife.

Rambova negotiated a two picture deal with Famous Players and four pictures for Ritz Carlton.

At first Rambova worked well with him, but the two eventually clashed.

The deal would require two films to fulfill his obligations to Famous Players, and then four films that he and Rambova could make as they pleased at Ritz Carlton.

The costumes were again lavish and Rambova brought on two designers who would go on to successful careers: Norman Norell, and Adrian ( who would design for The Wizard of Oz ).

Rambova only took part in two scenes before leaving the film claiming modern stories bored her.

Kosloff sent Rambova to show sketches to Nazimova, claiming they were his own when they were actually Rambova's.

At Valentino's request, Ullman sent a telegram to Rambova.

After divorcing her second husband, Rambova remained in France, where she remained until the Nazi invasion, at which point she returned to New York.

After a final fight between Williams and Valentino over Rambova, Williams announced to the press that The Hooded Falcon would be postponed indefinitely, and Valentino's contract terminated.

Valentino's acceptance of the terms caused a major rift in his marriage to Rambova.

Many of Valentino's friends disliked Rambova and found her controlling.

The pictures were damaging to Valentino's image, and also were seen as evidence that he was carrying on with Rambova during his divorce from Acker.

As the bigamy scandal raged on, Rambova began work on costumes for Valentino's next picture, The Young Rajah.

He then suggested Valentino and Rambova partake in a dance tour to help the promotion and keep Valentino's name in the spotlight.

By this point in Valentino's career the press began to blame Rambova for his missteps, claiming she was controlling and power hungry.

During production for The Hooded Falcon, Rambova clashed frequently with Valentino's friends.

Rambova and George Ullman were in a battle for control of Valentino's career.

After Valentino's death, Rambova appeared on stage via vaudeville and Broadway.

Rambova did not get along with Valentino's friends and family, with the exception of Paul Ivano.

The marriage began to be strained as the press scrutinized Rambova and blamed her for Valentino's failures.

After signing with United Artists ( which stipulated Rambova could not be present on Valentino's sets or take part in his films ), Rambova turned cold and ignored her husband's 30th birthday, mocking him for staying home all day while she went to work ( he was waiting for his contract to finalize ), sparring with him in public, embarrassing him in front of Hollywood elite on the night of his ' Rudolph Valentino Medal ' ceremony, and eventually cheating on him with her cameraman on What Price Beauty?

In 1977, she played Rudolph Valentino's second wife Natacha Rambova in Ken Russell's film Valentino.

She appeared in a 1964 episode of Dr. Kildare (" Tyger Tyger ") and later appeared in numerous television series and made-for-television movies, one of which is The Legend of Valentino ( 1975 ), wherein she played Rudolph Valentino's second wife, Natacha Rambova.

Though they shared similar passions, Valentino and Rambova held very different views when it came to home and personal life.