Sangue e Areia

BLOOD AND SAND is one of those rare movies where the remake is actually much better--and this isn't because the remake was a sound movie and this one was silent. The problem is that the original Valentino film was a very traditional morality play that tried to please the more conservative film viewer of the day and ended up being rather heavy-handed and lacked depth. So, despite this being a film by America's most loved male sex symbol of the day, it is very pro-family and discusses the evils of extramarital affairs in a very obvious and superficial manner (the remake is slower paced and less preachy). This is odd, by the way, when you compare this film with two of Valentino's other famous performances. In THE SHIEK, there is a lot of sexual tension and the film is pretty racy for its day, as was THE FOUR HORSEMEN OF THE APOCALYPSE (which even included some nudity). It really is interesting how none of these films represent the average viewer--the movie is either anti-sex (like BLOOD AND SAND) or very pro-sex (like the other two). A truly interesting dichotomy.

Although in many ways "Blood and Sand" looks rather old-fashioned now, it's still an interesting drama. It gives Rudolph Valentino one of his better roles, and it is also highlighted by an effective supporting performance from Nita Naldi. The subject matter has some substance to it, and it still holds up well enough despite being handled occasionally in a somewhat heavy-handed manner.

In playing the bullfighter Gallardo, Valentino gets a character with some depth to it. The story follows him as he first struggles to achieve fame and respect, and then struggles in dealing with the side-effects of fame, fortune, and popularity. Naldi's role is memorable, and from her first appearance she makes her manipulative vamp character physically desirable but an obvious source of danger. Valentino does a good job playing off of her, and even without the benefit of spoken dialogue it is easy to see the struggle and self-reproach taking place inside of him.

The themes have a significance that go beyond the original setting. In itself, the criticisms of bullfighting and of what it reveals about human nature, while generally quite valid, are put forth without any subtlety. The inter-titles and the obvious parallels between Gallardo and the notorious criminal Plumitas repeatedly emphasize the same points that the action itself could have made well enough on its own. But that's one of the few weaknesses of "Blood and Sand". And the more general point, its depiction of how easy it is for crowds to be thrilled with violence, is well-taken.

The one other noticeable shortcoming is that the bullring scenes are now often unconvincing. It is laudable, of course, that the film-makers were willing to sacrifice realism so as to avoid being cruel to the animals, so this particular aspect of the movie should be evaluated generously. Present-day technology would certainly have made it much simpler to achieve both goals.

Although the style might make it mostly of interest to those who are already silent movie fans, there is still more than enough of interest to make this worth seeing. The story is simple, but it has some worthwhile aspects. Naldi provides something striking to look at, and Valentino gets to show what he can do with a role that has some possibilities to it.

BLOOD AND SAND (Paramount, 1922), directed by Fred Niblo, stars silent screen legend Rudolph (billed Rodolph) Valentino in one of his most celebrated roles as a bullfighter from the suburbs of Seville whose rise to fame eventually puts his life into a different direction. While the title might indicate violence at the beach, such as sunbathers and swimmers encountering shark attacks, (director Steven Spielberg took care of that with his 1975 hit, JAWS), the movie only lives up to its name towards the end of the story.

Set in Spain, the plot revolves around Juan Gallardo (Rudolph Valentino), also known as "Zapaterin" (The Little Shoemaker), who longs to become a famous matador in spite of the protests from his widowed mother (Rosa Rosanova) wanting her son to have a more safer profession by following his late father's trade working as a shoemaker, but that doesn't go well with him. As his dreams become reality, Juan, having made a name for himself, is reunited with Carmen Espinosa (Lila Lee), his childhood playmate now back home from convent school. The two marry, and as he rises to the top of his profession, Juan offers her wealth and happiness. Things start to change as Juan meets and succumbs to the passionate charms of Dona Sol (Nita Naldi), niece of the Marquis De Moraimas (George Pierlot).

Of the supporting players featuring George Field as El Nacional; Rosita Marsiti as Encarnacion; Leo White as Antonio; Fred Becker as Don Jose; among others, the character who is most essential to the story is Don Joselito (Charles Belcher), a philosopher, whose home is surrounded with ancient instruments of torture (superimposed with people strapped and tied to these devises). He writes recorded documents about various people who interest him, and what is to become of them, namely Juan and his bandit friend, Plumitas (Walter Long), whose backgrounds differ but with parallel professions (Juan kills bulls while Plumitas kills men), each are to have similar ends. Joselito writes this about Juan, "Juan Gallardo has reached his goal. Will success spoil him or will his love for little Carmen overcome the plaudits of the populace and the cruelty of the national sport?"

The now familiar Vicente Blasco Ibanez story was remade successfully and memorably by 20th Century-Fox in 1941 starring Tyrone Power, Linda Darnell and Rita Hayworth in the Valentino, Lee and Naldi roles. Longer than its predecessor, the remake includes a lengthy opening tracing the early life of Juan as a boy while the Valentino original centers upon his Juan as an adult, with very little about his upbringing, thus, being mostly a dramatic story on the personal life of an acclaimed matador. In spite of its premise, BLOOD AND SAND consists of limited bullfighting scenes, compared to several used in the remake, each featuring memorable love scenes between Juan and his mistress, Dona Sol. While Nita Naldi's performance might come off as campy, Rita Hayworth's interpretation is most alluring. Fred Niblo's direction may be slow going at times, but manages to bring the culture and Spain to life, especially with their afternoon recreation as they are seem being entertained by watching a good bullfight. Ole! Ole!

Because of his early death in 1926 at age 31, the Valentino name has become immortal. BLOOD AND SAND, along with THE FOUR HOURSEMEN OF THE APOCALYSE (1921), THE SHEIK (1921) and its sequel, THE SON OF THE SHEIK (1926) have become notable titles that best personify the Valentino legend, yet, television revivals have become rare. BLOOD AND SAND did become one of the thirteen movies presented on public television's weekly series of "The Silent Years" (1971), hosted by Orson Welles, with film print from the Paul Killiam collection,accompanied by a piano score by William Perry, the print used for the Blackhawk (later Republic Home Video) distribution during the early 1990s. At one point, BLOOD AND SAND was shown on cable television on the Nostalgia Channel around 1993-4 as part of its Saturday evening showing of "When Silents Was Golden." A decade later, KINO VIDEO restored BLOOD AND SAND with clearer picture quality and corrected silent film speed, as well as some restored footage missing from the standard 82 minutes (including the opening of the Paramount logo), thus, moving its length up to 110 minutes. The KINO print is accompanied by a new score by Rodney Sauer and the Mont Alto Motion Picture Orchestra. But beware of shorter prints running at 62 minutes, the abridged print that played on numerous occasions on Turner Classic Movies' "Silent Sunday Nights" prior to 2000.

BLOOD AND SAND is classic Valentino at best. Aside from playing a young man with ambition, a tango dancer, and a lover of women (although a title card earlier in the story has him saying "I hate all women except one"), Valentino is perfectly cast as the bullfighter of Seville, and that's no bull. Viva, Valentino!

I just watched the 1941 Tyrone Powers remake of this film and enjoyed it very much, and reflected on American's fascination with the corrida during a couple critical time periods. It was the perfect time to watch this Rudolph Valentino (1922) version which is also a retelling of the book by Vincente Balasco Ibanez. This is the first Valentino film that I have seen and having watched many other silent films, I can see why Valentino was such a heartthrob. He really captures your attention and unlike other stars of the era was not overly campy to get his emotions across.

The general story is still the same, poor boy aspires to be a toreador, marries girl next door, then as he achieves fame and good fortune is noticed and subsequently seduced by fickle wealthy woman...who doesn't truly care for him and moves on to her next shiny plaything, leaving our toreador Juan to pick up the pieces.

Both films end the same way...even with the concept that the bull isn't the beast but the crowd of the corrida is the never satisfied beast. I will say the 1941 film version seemed to glorify or romanticize the bullfighting much more than the 1922 version that just kind of showed it as is.

I really enjoyed this Valentino take. In fact, I think I preferred it to Tyrone Power's film. That may be an unpopular view, but there was so much packed in to the 1922 version that made it feel like you were getting a real look into the past. More emphasis was put on the story...and less on romanticizing bullfighting as a sport. So many great details gave authenticity to the scenes...like when they are in a pub it is just thick with smoke as the crowd is smoking and drinking while the Gypsies perform flamenco. In Dona Sol's seduction pad behind the action their is a small pillar with incense smoke rising above the action...have you ever thought about how smelly those homes were with no indoor plumbing, lack of bathing, etc...yep, people with money burned incense to mask the bad smells. And the mantillas! The veils, the hairstyles...someone tried to do a nice job with giving it the look and feel of Seville.

I liked the bandit character in this version with a parallel rising from poverty with bravery story.

My only complaint is the half naked house servant in Dona Sol's employ...that seemed out of place and like something you would only see in a Hollywood theatrical production.

I have read some reviews complaining of the overt seduction...but I preferred that, it gave me more sympathy for Juan who seemed to really love Carmen. In the Tyrone version...as a woman I had a lot less sympathy for Juan as it seemed like it was all instigated from him, "pretty girl must have". As a woman, I like to think men have more willpower...but maybe they don't. (Please don't burst my bubble.)

If you are a silent film fan, I think this is a must see. If you are interested in bullfighting...I think this is a worthy watch and if you are interested in the 1920's you should definitely watch this. Highly recommend.

Impoverished shoemaker's son Rudolph Valentino (as Juan Gallardo) wants to be a bullfighter, much to his widowed mother's dismay. Still, toreador Valentino excels in the dangerous sport; and, later, he is wealthy and famous throughout Spain. Along the way, he marries virtuous childhood sweetheart Lila Lee (as Carmen). For Valentino, temptation accompanies fame, as he falls under the spell of wicked temptress Nita Naldi (as Doña Sol), a slightly sadomasochistic bullfighting groupie. Can Valentino love two women at the same time?

Valentino performs well as an innocent ragamuffin who achieves great fame; of course, this parallels the idolization of the film's star. Moreover, the Idol proves just as attractive being seduced (herein, by Ms. Naldi) as he was the seducer (in the recent "Sheik"). Fred Niblo's "Blood and Sand" is a classic; however, the story, and disjointed bullfighting footage, do bog things down.

Great things happen, after about a quarter hour, when Valentino steps into Naldi's lair. In a neat bit of acting business, Valentino wipes a sweaty hand before greeting his seductress; then, he and Naldi's servant exchange weird looks as Valentino gets his cigarette lighted. After some crosscutting to innocent Ms. Lee, Naldi's harp-playing gets her man.

Writer June Mathis adapts well, for her star; but, the Ibáñez story should have more streamlined. Combining, or further developing, the characters played by Charles Belcher (Don Joselito) and Walter Long (Plumitas) might have helped. Mr. Belcher's character is most interesting; he collects torture devices, and choruses the film's thesis: "Happiness and prosperity built on cruelty and bloodshed cannot survive."

******* Blood and Sand (8/5/22) Fred Niblo ~ Rudolph Valentino, Lila Lee, Nita Naldi, Charles Belcher