The Sheik (1921).

Review #1318: The Sheik.

Cast: 
Rudolph Valentino (Sheik Ahmed Ben Hassan), Agnes Ayres (Lady Diana Mayo), Ruth Miller (Zilah), George Waggner (Yousaef), Frank Butler (Sir Aubrey Mayo), Charles Brinley (Mustapha Ali), Lucien Littlefield (Gaston), Adolphe Menjou (Raoul de Saint Hubert), and Walter Long (Omair) Directed by George Melford.

Review: 
It is interesting to see where a career can go when it comes to a person's legacy. What does one think when they see the name of Rudolph Valentino? They see a matinee idol, a person who became a romantic symbol for Hollywood whose star rose like a comet and vanished just as quickly, with a leading career that lasted less than a decade. He had gotten his start in films as an extra after emigrating to the United States from Italy in 1913, with his debut allegedly being in a lost film named My Official Wife (1914). His major break was the film The Four Horsemen of the Apocalypse (1921), which occurred after June Mathis had discovered him during one of his extra appearances. In any case, the film proved to be a major success, making him into a star overnight. He appeared in four further films in that same year, but this is the one that would help seal his reputation and image as a "Latin lover" for the rest of his brief career. This was an adaptation of the 1919 romance novel of the same name by Edith Maude Hull and was adapted for the screen by Monte M. Katterjohn. It should be noted that James Kirkwood, Sr was the original choice for the title role before he declined due to salary concerns. Valentino had jumped studios to do this film (done at Paramount), feeling less than satisfied with Metro Pictures (who you may recognize from their 1924 merger with Goldwyn Pictures and Louis B. Mayer Pictures to make Metro-Goldwyn-Mayer).

In any case, one wonders how this desert romance holds up when looked at through the lens of a near century since its release. The immediate thought that went through my head before viewing it was "Stockholm syndrome" (involving someone developing a psychological alliance with captors during captivity). If one views it as a period piece, perhaps one can find a bit of surreal enjoyment, particularly for a film that even uses one of its final title-cards to say that its title character is actually European (English/Spanish, actually, but whose counting?). Look, the film is a bit weird. However, it cannot be denied that there is still a bit of fiery staying power for this film, having a hypnotically passionate Valentino that rises above being billed second to Ayres (whose career also started with small roles in 1914) to make something that keeps the eyeballs focused on something that teeters on corniness while trying to fit into escapism. Ayres does fine, although one might think the romantic angle was more of a tease than anything (the novel was far more controversial with its duo involving rape and plenty of stereotypes, so imagine the studio trying to be careful with the censor boards). The others are okay, in the same way that they certainly look like they want to be there making gestures and seem useful to something that seems mildly ready to inspire passion for 80 minutes. The film is fairly diverting enough to overcome its rickety foundations, where one can look at its main stars without it seeming completely off-putting or ridiculous. There were two more films involving the Sheik, with The Son of the Sheik (1926) starring both Valentino (in a double role that proved to be his last before his death that same year) and Ayres. A comedic role reversal named She's a Sheik with Bebe Daniels was released the following year. This is one of those unlikely films that finds a place in movie history. One wonders how it would've endured if was made in any other time other than the early 1920s, such as if it was made seven years earlier or later, but there is something mystical about it attracts attention even after nearly a century. Valentino may have lived as an idol for only five years, but his mark still comes through today as someone to look at on the screen.

Overall, I give it 7 out of 10 stars.