American_Delight

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.

First, though fictional, scenes from "The Thief of Baghdad" such as a public beheading are actually truer to the old (and current) Middle East and less slavish to political correctness than supposedly well-researched contemporary movies like "Kingdom of Heaven." Second, images of a genie materializing from smoke, flying horses, flying carpets, and a man residing underwater are dated visual effects by today's standards, but are clever, imaginative, and groundbreaking for 1940. "The Thief of Baghdad" no doubt set the stage for swashbuckling special effect successors like "Sinbad the Sailor," "Clash of the Titans," and "The Golden Voyage of Sinbad." Third, this movie has good guys versus bad guys (Ahmad & Abu vs. Jaffar), romance (Ahmad & the princess), humor (the battle of wits between Abu and the genie), and a series of mini-adventures within the larger adventure. It's a good formula for popcorn & fun. Recommmended.

Far from being an irrelevant glimpse of an alternate history that never materialized, the fictional re-invasion of Kuwait by Iraq in "Deterrence" provides a highly relevant alternative to the U.S. approach to rogue states in the world today. With the U.S. fighting two wars and the budget looking grim, it crosses the mind of even the most hawkish among us whether feckless air wars and costly ground wars are worthwhile. The alternative is simple, elegant, and ghastly: a promise to drop a nuclear bomb on our enemy if they do not meet U.S. demands. Imagine if Afghanistan or Pakistan had been told in September 2001 to turn over Bin Laden and Mullah Omar or face the imminent nuclear annihilation of Kabul and Islamabad. Would Bin Laden not have been swinging from the end of a noose ten years ago?

It's a compelling and stark bit of realpolitik, suitable for discussions at the café among political intellectuals. But it works well as drama too as we watch Kevin Pollak's character, Walter Emerson, grow in the movie from a mousy, underwhelming "second banana" into a steely, decisive leader. Director Rod Lurie says that ultimately, Pres. Emerson is a villain for making such a heinous threat. Viewers can make up their own minds. Some of the scenes involving the local customers in the diner border on cheesy, awkward, or artificial; but the tension, surprising decisions, and political intrigues played out in this film make it a must-see national security drama.