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18 out of 25 people found the following review useful:
This famous film was largely a tease, an art at which Valentino was particularly proficient…, 31 July 2005

Author: ironside (robertfrangie@hotmail.com) from Mexico

*** This review may contain spoilers ***

For reasons difficult for mere man to diagnose, the sheik represented the ultimate in masculine appeal… Call it the mystery of the burning sands, the magic lure of the tropics, the titillating uncertainty of the unfamiliar, the reputed animal magnetism of the Arab aristocrat—these are mere words which leave the cult of this particular sheik unexplained…

Give Valentino a burnoose, a bejeweled dagger and fancy belt, a pair of riding boots, a luxurious tent with intimations of a harem in the background and a well-cushioned couch in the foreground, and he became irresistible… To be borne in his arm on a white Arabian stallion, struggling virtuously but not too violently, was apparently the goal of nearly every woman's ambition…

Much of the action of "The Sheik" consisted of a menacing Valentino staring at a pleading Agnes Ayres while they warily circled each other in preparation for the clinch that was a long time coming…

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15 out of 22 people found the following review useful:
An essential period piece for film buffs, 21 January 2002

Author: Gwenhwyvar from United States

The Sheik. Like it or not it is part of film history and as such deserves at least a look. The plot is pure romance novel, the budget was microscopic and it's true about it not being Valentino's best film. In spite of all this, the film manages to be a neat bit of escapism.

No one expected this film to succeed in spite of being based on a wildly popular best seller. But the female film going population had other ideas and The Sheik made a mint, spawned many imitations and caused an Arabia craze.

The plot involves the lovesick Sheik Ahmed abducting an English beauty to be his wife. Clearly, this is not the sort of movie that would get released today except as a direct to video. Because of this, rather than in spite of, this movie is very fascinating to modern viewers.

The Sheik is strangely enjoyable if one puts aside modern inhibitions and gets into the spirit of things. Even with that, this is not a very well made movie, just a fun one. In spite of cries for censorship in the 20's, this movie is very tame by most modern standards. Nothing I would show a child, but most certainly not as wild as what is on an average network sitcom.

If you wish to check out the legendary Valentino, I suggest viewing The Eagle or the Son of the Sheik which feature much better performances.

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9 out of 15 people found the following review useful:
Still racy, escapist fun, 18 April 2005

Author: devil_doll12 from Canada

*** This review may contain spoilers ***

This is the sort of film that many viewers are made to feel sheepish about enjoying. Studies of Rudolph Valentino always take pains to point out that this is not a particularly strong film, and it must be said that Valentino as Sheik Ahmed does not do his best work here—for the first part of the film he uses very exaggerated facial expressions derived from pantomime that, as flamboyant on screen as he could be, he seldom used before or since. (I suspect that neither he nor the director George Melford expected The Sheik to become the sleeper hit it did—it was a routine studio picture based on a bestselling bodice ripper—and that Valentino was hamming it up.) And there is no denying that the story is very melodramatic, even kitschy. Yet, when all is said and done, I found this to be an engaging, well paced film from beginning to end (it may be campy, but it's never boring) and Valentino with his dark piercing eyes and clad in Hollwood's version of flowing Middle Eastern robes is very charismatic once he drops the mannered grimacing.

Ahmed's kidnapping and (possible) rape of Lady Diana are of course politically incorrect today, but going by comments I've read and heard these scenes still get a considerable number of women hot and bothered (women whom I'm sure have no problem distinguishing an on screen fantasy from the horrors of an actual assault). A modern audience, quite understandably, is also apt to be uncomfortable at the presentation of Arab men as hot blooded ravishers (as Ahmed points out to the French writer Raoul St. Hubert "when an Arab sees a woman he likes, he takes her"), but as stereotypes go it is very dated: considering that these days Arabs are more likely to be caricatured as sexually puritanical terrorists, the hyper-passionate Ahmed is positively quaint. Agnes Ayres may not be the most celebrated actress of the silent era, but she's certainly adequate here and her soft, rounded look give her the vulnerability this role requires.

A must see for Valentino fans (for better or worse this was his signature role), and probably fun for other viewers too.

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9 out of 15 people found the following review useful:
Rudy, Where'd You Get Those Eyes?, 1 December 2002

Author: (bsmith5552@rogers.com) from Ottawa, Ontario, Canada

"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.

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10 out of 17 people found the following review useful:
Libido of Arabia, 31 December 2004

Author: Gary170459 from Derby, UK

A significant milestone in movie history and therefore should be watched as such. Viewed only by today's standards it's pretty corny and contrived, chock full of insinuated or probably insulting stereotypes, and also suffered that most terrible of happenings: the sequel was much better!

I last saw it as a teenager in 1975; all I could remember of it was chuckling at the implied strength of Ahmed's tent withstanding the sandstorm. Or of course, Diana's iron will in withstanding Ahmed's potential sexual advances. But that was the discipline that came with being white - if he had been a true Arab, well ... As usual back then, Blood is thicker than education.

Seen again, it's a reasonably well produced romantic action film, which carries you along (if you let it) to the corny and contrived ending. I may sound a bit too sarcastic, but I assure all that I thoroughly enjoyed The Sheik and thus recommend it, only don't take it too seriously.

Was Menjou on a diet in '21? I don't remember him skinnier than in this!

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2 out of 2 people found the following review useful:
The Desert King, 30 May 2011
Author: lugonian from Kissimmee, Florida

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." (***)

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6 out of 10 people found the following review useful:
Valentino's History, 5 September 2010
Author: Michael_Elliott from Louisville, KY

Sheik, The (1921)

*** (out of 4)

Sheik Ahmed Ben Hassan (Rudolph Valentino) is accustom to having his wishes fulfilled by whoever he asks but he gets a challenge from an English woman (Agnes Ayres) who is more freewheeling and doesn't believe that a man owns a woman. The Sheik eventually kidnaps the woman, forcing her to his retreat in the desert where he slowly tries to force his will on her. This film has certainly become one of the landmarks of cinema as it created a brand new type of sex symbol and it forever made a legend out of star Valentino. It's strange because I really enjoyed this movie yet I really can't say why I did because there's so many negative things in the movie. For starters, you could easily call this movie both sexist and racist yet I guess no one in 1921 cared. I guess the woman who made this movie a hit didn't mind the fact that the Sheik was not only a kidnapper but also a rapist and an all around bad guy. I guess a little dark side didn't turn anyone off. I'm rather amazed at watching this film that it was such a hit and that women would drop head over hills for a man like the character here. I really don't know what it was but I guess Valentino managed to put a spell on the women in the crowd just like his character in the film. I will add that I've seen several Valentino pictures before and after them and the majority of them feature a better performance but I guess that really doesn't matter too much. I found Valentino here to be way over-the-top during certain scenes but this might be due to the rather poor direction. We have way too many silly shots of Valentino giving silly looks at the camera and it's easy to see why some critics attacked this film in 1921 because shots like these do make it come off campy. Valentino certainly knows how to play up the sex appeal but again, I'm still somewhat shocked this went over so well with women. Ayres isn't all that impressive as the female lead but we do get strong supporting performances by Adolphe Menjoy, Walter Long and Lucien Littlefield. I've read different reports of where the exteriors shots were actually filmed but wherever they were they do look terrific and add a lot to the film. The tints on the print I viewed also helped things quite a bit. I'm not sure what movie people in 2010 will make of this movie but I'm sure many would either laugh it off or be offended by it. I'm really not sure why it kept me entertained so but I had a pleasant time with the picture no matter how many flaws it did have.

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1 out of 1 people found the following review useful:
Fun in Valentino's desert, 8 July 2011

Author: 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.

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1 out of 1 people found the following review useful:
It's a treasure., 25 January 2009
Author: angeley from United States

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.

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Dated, campy, and far from timeless, but still decent overall, 20 September 2011

Author: MissSimonetta from United States

*** This review may contain spoilers ***

The Sheik is a film more famous for how it boosted the career of its leading star rather than how it works as an actual movie. It's often (mis)labeled as a classic (probably because many people assume "classic film"=anything made before 1980) and I was surprised to find it on the AFI's Top 100 Passions list. In truth, The Sheik is very weak and dated, sporting weak performances by its leads and a serious lack of the promised sex appeal.

Lady Diana Mayo (Agnes Ayres) is an independent young Englishwoman who has shocked her society peers by going on an excursion through the Sahara desert in the company of Arabs. She catches the attentions of a tribal prince, the sheik Ahmed Ben Hassan (Rudolph Valentino), who decides he wants her as his bride. He kidnaps her and holds her captive in his tent, where she resists his advances, but finds herself slowly falling for him in spite of herself.

Though the story is far from politically correct, that is not the reason why The Sheik fails. The plot is pure sexual fantasy. It's escapist melodrama and we are not to take it seriously, which is why my inner feminist is not too offended by the sadomasochistic romance. The film fails because it lacks the eroticism necessary to make the story effective. This is due to the performances of the film's leading stars. In Valentino's case, there is a want of subtlety; in Ayres', a want for passion.

Despite it being the most iconic role of the famous screen lover Rudolph Valentino, his performance isn't all that good. I normally love Valentino in his other films; he's no brilliant actor or anything, but he's not lacking in talent. Aside from being really good-looking, he has a charm and charisma that draw your eyes to him whenever he's on screen. His acting is restrained and, like the best silent screen actors, he expresses so much with his eyes. So when I see him mugging for the camera in The Sheik, all I can do is wonder what the hell went wrong. I don't know if it's the director's fault or if Rudy was having a bought of temporary insanity, but his broad performance is totally unlike him and just doesn't work. There's nothing remotely erotic about it.

Ayres doesn't give her character enough life or personality. We're made to assume that Diana is an independent and adventurous woman: early in the film, she turns down a suitor's proposal by saying that she regards marriage as prison; she's brave enough to go on a desert expedition without her brother there to protect her; and she's strong-willed enough to refuse the sheik's advances and orders. From what I just wrote, you'd expect a pretty fiery character wouldn't you? Well, Ayres' portrayal of Diana is anything but fiery. She's not very expressive, and looks confused and frightened for the majority of the film. Ayres also gives Diana little characterization, making her an independent woman in name only. She fails to bring any life to this strong-willed character, giving Diana no more than a pretty face with a vaguely defined personality.

If Diana being a free spirit is unbelievable, then even more unbelievable is her eventual love for Ahmed. The lack of chemistry between Valentino and Ayres is what kills the film. We're told over the story he gradually bends her to his will, but we're never shown such a development. For the majority of her captivity, Diana is repulsed and unresponsive to the sheik's love-making. There's not a sign of arousal or surrender whenever he steals a kiss or an embrace, no sign of her opinion of Ahmed slowly changing as time goes on. Then, all of a sudden she's completely fallen for him, worrying about his welfare and dreamily writing "I love you, Ahmed" in the sand!

That being said, The Sheik isn't all bad (I'd take it over sparkly vampires any day). It has a great deal of unintentional humor which makes it entertaining, and it's a good way to waste an hour and a half if you're bored. It's just no great classic or anything. And if you haven't gotten the chance to see Valentino in action, then go watch The Eagle or this film's sequel, The Son of the Sheik, both of which showcase his talent and sex appeal much better.

6/10

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