Valentino - O Ídolo, o Homem

From start I knew this would be a great movie. I was very pleased with how the beginning was done. You're able to see newspaper articles telling you how Valentino died. Then you see real footage of people causing a riot as they try to break into where Valentino's body is. The footage is in black and white and then it turns to color. That was very well done too. How they were able to reenact the real footage. The song they also play in the beginning was a great song.

I thought the acting in this movie would be terrible, especially by Rudolf Nureyev. He turned out to be a very good actor in the movie. He was also very good in the dance scenes. I never found anything in this movie to displease me. However, there was one scene with Valentino and an actress from one of his movies he is working on that I thought was unnecessary. The scene comes right after one of the light technicians drops a pink powder puff on him. He has to sleep with the actress to prove he isn't a pink powder puff. Then later in the movie came a boxing scene were Rudolph Valentino wanted to prove his manhood. That was a very good scene. I think the point were I really started to like the movie was when Valentino was riding home with his dog. Who better then to do a biopic on Rudolph Valentino? This is a great movie with great acting, writing and direction.

See this great movie about an icon.

Even if you know very little about Rudolph Valentino (like myself), it's obvious after just a couple of minutes that this "autobiography" doesn't have to be taken all too seriously. The dark humor and colorful, operatic way in which director Ken Russell tells his story, make this film interesting to watch, although some parts were just a little over the top to my taste (like Leslie Caron's excessive entrance at the funeral home, the cult of fans gathering outside Valentino's mansion and the scene in which Valentino and his co-star "practise" their love scene).

Although the choice of Rudolf Nureyev to play Valentino was a gamble, I think he is surprisingly well-cast in the title role. In my opinion, the whole essence of the movie was to make it look like a silent movie, whether in grotesqueness of the scenes or in the overly dramatic dialogs. In that light, Nureyev's performance should not be judged as "bad acting". His exaggerated accent and equally strong body language are part of his performance, which is supported by the fact that Nureyev in real life didn't had that much of an Russian accent (anymore) by 1977. Whether his acting style - or for that matter the style of the entire movie - appeals to you, is therefore merely an issue of personal taste than of professional capability of the filmmakers.

As a homosexual (or more accurately bisexual), Nureyev certainly would have related to the hate directed at Valentino and as a world-famous ballet dancer, he would also have been able to relate to Valentino's fame, outrageous lifestyle, the parasitic way in which some people surrounded him and the pressure of being an idol. He created an impression that I found believable and endearing.

Someone in another IMDb user review stated that Nureyev is "not handsome", "short" and "not muscular at all". Of course personal opinions about beauty may differ, but REALLY... if Nureyev is not considered the embodiment of physical perfection, than who is? This man has been a sex icon from the moment he became famous and was adored worldwide not only for his wonderful dancing, but also for his beautiful sculpted body and astonishing charisma. He definitely shows these trademarks in this movie. All his love scenes (even with Michelle Phillips, who he apparently disliked) ooze an erotic feeling. But above all, he shows that his dancing skills exceed the classical ballet. The most captivating moments for anyone with a warm place in his heart for dance, are certainly the spectacular ballroom scenes: from the passionate tango with Vaslav Nijinsky (one of several comical references to ballet) to the stunning duets with his two on-screen wives.

There are chances that you have mixed feelings after having watched this film, but in my case this is mainly due to the script. The main characters stay a little flat in the narrative and the big leaps in between the events leading to Valentino's death sometimes make it hard for people not familiar with the historical background of Valentino to truly understand the implications of the story. The "why" behind the larger-than-life popularity of this iconic cinematic person thus stays a little obscure. However, the sadness over a talented life cut off too early, is a similarity between Valentino and Nureyev (who died in 1993 as a result of AIDS) which gives the entire film a melancholic shine.

Filled with wonderful moments, Valentino, ultimately collapses under the weight of its overblown and raucous fairground antics. It must have been an amazing coup to get Rudolf Nureyev to play the infamous Rudolph Valentino but there is just too much going on and some scenes going on for too long. The costumes, by the director's then wife Shirley are amazing but really only help to feed in to the overall campiness of the proceedings. I can imagine Ken bouncing about encouraging everyone to give it their all and this certainly seems to have born fruit with Peter Vaughan's ecstatic performance towards the end but it also means that poor little Felicity Kendal, always the most measured of actresses, actually overacts here. A camp extravaganza that I'm sure many can enjoy but I would have preferred just a little more insight. The Fatty Arbuckle portrayal is unforgivable, never mind that of Valentino himself.

In Australia in 1977 we were in the boom years and love affair with colour TV. Most cinema releases movies at the box office dropped dead.. and most were very good... or at least interesting.... VALENTINO was one of them. A wildly ambitious and quite well imagined 1920s fiction on Valentino's career and loves, this Ken Russell pic has spectacular imagery and hilarious casting (Huntz Hall as the head of Paramount) but as usual in a Russell film was seriously derailed by grotesque sexual moments. The film has a great sense of time and place and with great female casting, spectacular dance scenes and breathtaking art direction VALENTNO gives the viewer 2 hours of lavish early 20s Hollywood life. Any film with both Carol Kane and Leslie Caron with Nureyev must be seen to be believed anyway. Some cinemas of the time (well, mine anyway) ran it as a double feature with NEW YORK NEW YORK and found the same audience enjoyed both... even if they needed a meal break and a walk around the block to get through this 5 hour musical fruit salad. In the same week we also ran THE WORLD'S GREATEST LOVER which, also with Carol Kane and equally gorgeous 20s visuals missed its mark because of the insufferable antics of Gene Wilder over-eating the whole production. Yes, over-eating. Nobody survived.

Who knows if any of this is true, but director Ken Russell's take on the life of Rudolph Valentino is a lot of fun. Opening at Valentino's infamously raucous funeral, the film is told in flashbacks by various people who knew him. That's where any similarity to CITIZEN KANE ends. Russell is a master of opulence and it's clear that no money was spared. The sets and costumes are spectacular, but they're nearly overshadowed by Russell's casting choices. Michelle Phillips plays Valentino's wife Natasha, Leslie Caron is the great Nazimova and one time Dead End kid Huntz Hall is Paramount chief Jesse Lasky. Bizarre casting to be sure, but all three are surprisingly good. Caron in particular seems to be having a really good time. In hindsight, the casting of Rudolf Nureyev as the world's "greatest lover" seems ironic, but he isn't bad. It is too bad he has to speak. There are times he's incomprehensible. The direction is fairly straightforward, although Caron's funeral scene entrance and Valentino's jail house encounter are vintage Russell --- they're nearly operatic. Carol Kane and Seymour Cassel are in it too.