Der Scheich

Sheik, The (1921)

*** (out of 4)

Sheik Ahmed Ben Hassan (Rudolph Valentino) is accustom to having his wishes fulfilled by whoever he asks but he gets a challenge from an English woman (Agnes Ayres) who is more freewheeling and doesn't believe that a man owns a woman. The Sheik eventually kidnaps the woman, forcing her to his retreat in the desert where he slowly tries to force his will on her. This film has certainly become one of the landmarks of cinema as it created a brand new type of sex symbol and it forever made a legend out of star Valentino. It's strange because I really enjoyed this movie yet I really can't say why I did because there's so many negative things in the movie. For starters, you could easily call this movie both sexist and racist yet I guess no one in 1921 cared. I guess the woman who made this movie a hit didn't mind the fact that the Sheik was not only a kidnapper but also a rapist and an all around bad guy. I guess a little dark side didn't turn anyone off. I'm rather amazed at watching this film that it was such a hit and that women would drop head over hills for a man like the character here. I really don't know what it was but I guess Valentino managed to put a spell on the women in the crowd just like his character in the film. I will add that I've seen several Valentino pictures before and after them and the majority of them feature a better performance but I guess that really doesn't matter too much. I found Valentino here to be way over-the-top during certain scenes but this might be due to the rather poor direction. We have way too many silly shots of Valentino giving silly looks at the camera and it's easy to see why some critics attacked this film in 1921 because shots like these do make it come off campy. Valentino certainly knows how to play up the sex appeal but again, I'm still somewhat shocked this went over so well with women. Ayres isn't all that impressive as the female lead but we do get strong supporting performances by Adolphe Menjoy, Walter Long and Lucien Littlefield. I've read different reports of where the exteriors shots were actually filmed but wherever they were they do look terrific and add a lot to the film. The tints on the print I viewed also helped things quite a bit. I'm not sure what movie people in 2010 will make of this movie but I'm sure many would either laugh it off or be offended by it. I'm really not sure why it kept me entertained so but I had a pleasant time with the picture no matter how many flaws it did have.

A significant milestone in movie history and therefore should be watched as such. Viewed only by today's standards it's pretty corny and contrived, chock full of insinuated or probably insulting stereotypes, and also suffered that most terrible of happenings: the sequel was much better!

I last saw it as a teenager in 1975; all I could remember of it was chuckling at the implied strength of Ahmed's tent withstanding the sandstorm. Or of course, Diana's iron will in withstanding Ahmed's potential sexual advances. But that was the discipline that came with being white - if he had been a true Arab, well ... As usual back then, Blood is thicker than education.

Seen again, it's a reasonably well produced romantic action film, which carries you along (if you let it) to the corny and contrived ending. I may sound a bit too sarcastic, but I assure all that I thoroughly enjoyed The Sheik and thus recommend it, only don't take it too seriously.

Was Menjou on a diet in '21? I don't remember him skinnier than in this!

THE SHEIK (Paramount, 1921), directed by George Melford, taken from the source material of Edith Maude Hull's daring novel, stars silent screen legend Rudolph Valentino (1895-1926) in one of his most acclaimed performances. Following the great success of THE FOUR HORSEMEN OF THE APOCALYPSE (Metro, 1921), it was his role of Ahmed Ben Hassan that elevated Valentino's status to popular leading man. Cast opposite Agnes Ayres, a name virtually forgotten among popular silent film stars, this is one for which she's best known solely due to the presence of Valentino, if not much else.

Starting off with a proverb (credited to Oliver Wendall Holmes), "Mohammed's land - where saint and sinner chant as one, their praise to Allah - bowing low beneath a desert sun" and subsequent inter-titles, "Allah is Allah - there is no God but Allah," before the story gets underway with the introduction of Ahmed Ben Hassan (Rudolph Valentino) a rich tribal prince "whose shoulders has fallen the heritage of leadership," choosing a maiden at the marriage market. Choosing Zilah (Ruth Miller), he returns her to Yousef (Charles Wagener), a tribal chieftain who loves her. Also there is an observant tourist, Diana Mayo (Agnes Ayres), an "orphaned daughter of an English poet," whose free spirited ways has her both refusing a marriage proposal from a young man ("marriage is captivity" she says), and going against the wishes of her brother, Sir Aubrey (Frank R. Butler), in favor of traveling through the Sahara desert alone with camel riding Arabs headed by Mustapha Ali (Charles Brindley), a tour guide. In Biskra, "gateway to the desert, city of adventure" Diana is insulted when refused admittance into a casino ("The Monte Carlo of the Sahara") that is, under Ben Hassan's rule, reserved only for Arabs. In protest, Diana enters, disguised as one of the slave girls. With her revealed white hands giving her away, Hassan escorts the phony slave girl out. Learning about her travels through the desert the following morning, Hassan abducts Diana against her will, keeping her captive in his palace tent. Unable to break away through the violent sand storm, she does make her escape from his camp only to be rescued by Hassan in time from the abduction by Omair (Walter Long) and his bandits. Learning that Raoul DeSaint Hubert (Adolphe Menjou), a famous French novelist and close friend of Hassan, is coming for a visit, Diana, fearing the humiliation of meeting "a man from her own world" to see her as the sheik's prisoner, is forced to act proper during his stay. It is Hubert who insists on Diana's freedom and return to Biskra. As Hassan agrees on releasing her, he discovers Diana gone, abducted by the rival tribe.

At first glance, THE SHEIK gives the impression of being a throwback from the Theda Bara era from the 1910s, ranging from Agnes Ayres overactive emotions to Valentino's suggestive eye gestures. After repeated viewing, it becomes acceptable in that manner, especially how everything comes together through its primitive acting style. Not exactly "The Sheik of Araby," Valentino's Sheik is educated, having acquired lasting friendship between Gaston, his valet (Lucien Littlefield) and noted poet (Adolphe Menjou) during his stay in Paris. His Hassan sings the Stephen Foster song, "Beautiful Dreamer" whenever happy and is seen smoking cigarettes in the process. For his cultural background perspective, he usually gets what he wants, especially the woman of his choice. The big moment occurs when he abducts one outside his race, the liberated English Diana who addresses him as a "desert savage bandit." This scene alone is one of its true highlights, especially for 1921. For those familiar with Adolphe Menjou (1890-1963), and his countless roles during the sound era, it's interesting finding him in a silent movie so early in his career. Very thin with unmistakable mustache trademark, he's almost unrecognizable through his advanced aging process with slightly white hair and heavy makeup over his eyelids.

As popular as THE SHEIK was back in the day, there never was a remake, only a sequel titled THE SON OF THE SHEIK (United Artists, 1926) that not only marked the turning point in Valentino's career, in a dual role of both father and son, but his final screen performance as well, having died shortly after its theatrical premiere. Had THE SHEIK been put under consideration as a remake in the 1930s, no doubt that Ricardo Cortez, who bears a near striking resemblance to Valentino, might have inherited the role, with my take on Kay Francis playing Diana Mayo. As legend has it, there's only one sheik, and that's Valentino. Interestingly, while THE SON OF THE SHEIK did have more exposure than its predecessor, ranging from television broadcasts and home video, THE SHEIK finally turned up on cable television's American Movie Classics where it frequently aired from 1990 to 1999. Former AMC host once commented during its April 9, 1990 premiere presentation of THE SHEIK as being the station's first silent film broadcast.

With several video distributions of THE SHEIK, two 1999 releases are worth noting: one from Paramount home video with the orchestral and chanting score by Roger Bellon, and other from Gravevine Video with agreeable piano scoring. The Paramount edition with Bellon score is most commonly available, and one used for both AMC and Turner Classic Movies (TCM premiere: July 5, 2011) broadcasts. On a personal level, Grapevine's piano scoring is appropriate and much more agreeable. Although no piano score credit is given, it's quite reminiscent to William Perry's style from his Killiam Collection in public television's "The Silent Years" series of the 1970s.

As silent movies go, THE SHEIK is actually quite entertaining. In other words, "campy" with unintentional humor, and one not to be taken seriously. How the story and Valentino's performance appeals to contemporary audiences simply "rests with Allah." (***)

The Sheik. Like it or not it is part of film history and as such deserves at least a look. The plot is pure romance novel, the budget was microscopic and it's true about it not being Valentino's best film. In spite of all this, the film manages to be a neat bit of escapism.

No one expected this film to succeed in spite of being based on a wildly popular best seller. But the female film going population had other ideas and The Sheik made a mint, spawned many imitations and caused an Arabia craze.

The plot involves the lovesick Sheik Ahmed abducting an English beauty to be his wife. Clearly, this is not the sort of movie that would get released today except as a direct to video. Because of this, rather than in spite of, this movie is very fascinating to modern viewers.

The Sheik is strangely enjoyable if one puts aside modern inhibitions and gets into the spirit of things. Even with that, this is not a very well made movie, just a fun one. In spite of cries for censorship in the 20's, this movie is very tame by most modern standards. Nothing I would show a child, but most certainly not as wild as what is on an average network sitcom.

If you wish to check out the legendary Valentino, I suggest viewing The Eagle or the Son of the Sheik which feature much better performances.

Lawrence loved Arabia and Meryl Streep fell for Africa, but Diana, the leading lady of "The Sheik," resists the desert with all her might. She reacts badly to Valentino at first, prefers to consort with Europeans, and threatens Arabs with a pistol she can barely shoot. As in every Hollywood romance, however, her heart eventually melts. Maybe this was an unexpected plot twist in 1921.

"The Sheik," will open the eyes of anybody who mistakenly believes that human history has been a steady march of ever increasing open-mindedness about sex. The 1920s were a more open, steamy time in film that the next couple of decades that followed it, which the "The Sheik" non-prudish storyline illustrates.

"The Sheik" is not quite exhilarating enough and is somewhat disappointing if you're looking for exotic passion or a home video for date night. But it succeeds as an early romantic comedy, and distinguishes itself from other silent era fare such as the mawkish humor of Chaplain, the historical bombast of "Birth of a Nation," and the serious reverence of "King of Kings." For romance between appealing leads in locations far from civilization as we know it, "Son of the Sheik" or even "Stagecoach" fifteen years later are better bets. Still, "The Sheik" is historically important and more fun than most films of the time.