El caíd

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.

Surprisingly, the best acting in this exotic melodrama comes from Agnes Ayres and Adolphe Menjou as the sheik's victim/lover and old friend, respectively. Valentino, although he had proved his abilities in Four Horsemen of the Apocalypse and other films, indulges in too much eye popping and grimacing to convey lust for Ayres. Fortunately, these displays are toned down as the film unspools. As a story it's unoriginal, somewhat tedious and entirely predictable: devil-may-care British girl adventuring in the Sahara catches the eye of a local chieftain who kidnaps her, kisses her a couple of times, holds her prisoner until she yields to his desire – all in the most chaste fashion. The overheated and verbose novel on which the film is based is far racier than what is on screen. Yet still this film caused quite a stir back in the early twenties. It is sumptuously mounted with a large cast, well shot scenes of horsemanship and astoundingly realistic looking "desert" locations which were actually filmed on the beaches of Long Island! The photography and intertitle design are beautiful. But whether Valentino overacts or hits the mark, he is always worth watching.

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.

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!

This movie is definitely a curio from the past. It was Rudolph Valentino's most famous movie and helped to make him, for a time, the most desired man across the globe. He was, in fact, the first true "male sex symbol" as a result of his performance in this movie. So, historically, it's a very important film. However, many seeing the film today will marvel at how poorly the film translates to modern audiences and sensibilities. First, the acting is overly dramatic--even for most silent films. Second, the sexy star might be seen by many today as a rapist--considering he kidnaps the lady and ultimately forces himself on her. But, despite this, it's still an entertaining if slight piece. I doubt, considering the sex symbols of the 21st century, Valentino will turn any of you on, but it still is interesting to see who grandma and great-grandma were panting over almost a century ago!

NOTE: Since I first posted this review, I have seen quite a few more films starring Valentino. And, overall, I think THE SHEIK is among his poorest films--though his most notable. Tastes do indeed change, as today it isn't all that great. Try seeing some of his other work--it definitely is an improvement in most cases.