A toreador's familial and social life is threatened when he has an affair.

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, (uncredited)

Writers:

(from the novel by), (and the play by) | 1 more credit »
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Cast

Cast overview, first billed only:
Rosa Rosanova ...
Angustias (as Rose Rosanova)
...
Juan Gallardo (as Rodolph Valentino)
...
Leo White ...
...
Rosita Marstini ...
Charles Belcher ...
Fred Becker ...
George Field ...
Jack Winn ...
Potaje
Harry Lamont ...
Puntillero
Gilbert Clayton ...
Walter Long ...
Plumitas
George Periolat ...
Marquis of Guevera
Sidney De Gray ...
Dr. Ruiz
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Storyline

Juan is the son of a poor widow in Seville. Against his mother's wishes he pursues a career as toreador. He rapidly gains national prominence, and takes his childhood sweetheart Carmen as his bride. He meets the Marquis' daughter Dona Sol, and finds himself in the awkward position of being in love with two women, which threatens the stability of his family and his position in society. He finds interesting parallels in the life of the infamous bandit Plumitas when they eventually meet by chance. Written by Ed Sutton <esutton@mindspring.com>

Plot Summary | Add Synopsis

Genres:

Drama | Romance | Sport

Certificate:

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Details

Country:

Release Date:

5 August 1922 (USA)  »

Also Known As:

Blut und Sand  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

| (Kino Print)

Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

One of the top grossing films of 1922. See more »

Goofs

The mountain bandit who is one of the principal supporting characters is an anachronism; the Guardia Civil did away with their kind during the late 19th century. See more »

Connections

Referenced in A Trip to Paramountown (1922) See more »

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User Reviews

A sensitive and subtle performance by Valentino.
8 September 2004 | by (United States) – See all my reviews

I've watched "Blood and Sand" several times; I own the DVD. With every viewing I notice some new subtle nuance in the under played gestures of Valentino. In the big seduction scene between Valentino and the voluptuous Nita Naldi, she sits at a harp, delicately playing, with her back to Valentino. He walks up behind her chair, clearly aroused, and he begins to seductively stroke the chair! This is so under played and yet so visually compelling and sensuous.It is so unlike the melodramatic rather hystrionic aesthetic so often found in films from this period. Valentino's restraint throughout the film's more emotional moments is compelling; his subtlety pulls the viewer intimately inward.True, the bull fighting scenes leave a bit to be desired. They are the result of some rather choppy editing and sadly come off looking peculiar,even humorous at times. Somehow Valentino pulls it off, his graceful movements, his quiet emotions, his compelling sensuality more than make up for the lack of authenticity in the bullring.


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