El caíd

I can't believe all the apologist critiques. The Sheik is so enjoyable, fun and Valentino is so warm and loving with his co-star, it is a must see! (Plus I love the music that comes with it)

Remember also Valentino at this time in his life, was newly and madly in love with the love of his life, Natasha and he is just radiant throughout this whole film. It's been said that he along with the rest of the cast and crew had the time of their lives romping through the desert making this film. It truly shows.

Valentino is gorgeous in this. I watch it periodically and it leaves the sweetest feeling with me. Go on about the subject matter, about the over emphasis on gestures (it's a silent film, that was the norm) but there is nothing better than to see this gifted and talented man act while he is probably at his most happiest in life.

"The Sheik" was the movie that catapulted Rudolph Valentino to stardom. I just saw it recently for the first time. It holds up rather well within the context of its story.

The story involves London socialite Lady Diana Mayo (Agnes Ayres) setting off on an adventure across the desert. When her caravan is attacked by bandits and her brother (Frank Butler) killed, she is rescued by Sheik Ahmed Ben Hassen (Valentino, who carries her off to his camp intending to make her the latest of his many conquests. With the influence and advice from his friend Raoul (Adolph Menjou) the Sheik comes to respect her and they ultimately fall in love. But when she doubts his intentions, Lady Di runs off into the desert and is captured by Omair the Bandit (Walter Long). Rudy of course rides to the rescue and the lovers ride off into the desert to live happily ever after.

It is easy to see why the ladies swooned over Valentino. He did cut a dashing figure on the screen and his hypnotic stare was to become his trademark. Both Valentino and Ayres would reprise their roles in "Son of the Sheik" (1926), Valentino's final film.

Lucien Littlefield who plays Gaston the Sheik's valet, stuck around for many years. He wound up playing a variety of roles for Republic Pictures in "B" westerns. Menjou, who actually WAS young at one time had a long and prosperous career playing mature sophisticated gentlemen.

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.

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." (***)

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.