The Son of the Sheik

THE SON OF THE SHEIK (United Artists, 1926), directed by George Fitzmaurice, reunites the leading players of Rudolph Valentino and Vilma Banky, most recent stars of THE EAGLE (UA, 1925), in what has become one of the most popular films from the silent era, mainly because of it not only being Valentino's final screen performance, but is where the legend of Valentino began. A sequel to his earlier success, THE SHIEK (Paramount, 1921), Valentino's career up to this point consisted of hit and miss stories over the next few years until THE EAGLE not only brought renewed interest in Valentino, but reassured it with THE SON OF THE SHEIK. Since sequels were a rarity during that time, Valentino, as did Douglas Fairbanks with the sequel to his immensely popular, THE MARK OF ZORRO (1920), DON Q, SON OF ZORRO (1925), Valentino reprises his original role as well as portraying his own son, Ahmed. Agnes Ayres, Valentino's leading lady in THE SHEIK, is offered special billing in the opening credits, who also re-enacts her original role as Diana, this time as wife and mother.

The story begins with the opening titles that read as to the location, "Not East of Suez, but South of Algiers." Yasmin (Vilma Banky) is the daughter of Andre(George Fawcett), a renegade Frenchman and leader of a group of thieves. She supports them through her dancing publicly. In the marketplace (as recalled by Yasmin via flashback), she meets Ahmed (Valentino), a handsome young sheik, and the two fall in love. After meeting with Yasmin secretly one night, Ahmed is captured by her father's renegades and held captive in a building where he hangs by his tied-up wrists placed on the window bars, and subject to whip torture for not revealing the name of his father and other information. After being freed by his men, Ahmed, believing Yasmin as his betrayer, abducts the girl and subjects her to his methods of torture, with one scene looking at Yasmin with vengeance in his eyes, and (off camera) putting her through the process of rape. It would be his father, Ahmed Ben Hassan (Valentino) who orders him to release the girl. After learning the truth from Ramadan (Karl Dane), Ahmed tries to win back Yasmin, who has returned to the dance hall, and now wants nothing to ever do with him.

In many ways, a much more interesting story than its predecessor, and brief to the point at 68 minutes. Aside from the fine chemistry between Valentino and Banky, the supporting villain as played by Montagu Love, along with sandy sets with production designs by William Cameron Menzies, THE SON OF THE SHEIK is Valentino's film from start to finish. And with this film as well does the Vilma Banky name remain legendary. But who knows how far Valentino's screen career would have gone had it not been for his untimely death at the age of 31 shortly following the film's release.

THE SON OF THE SHEIK did enjoy frequent theatrical revivals for a number of years, usually on a double bill with THE EAGLE, as well as television showings during the early to mid 1960s. It became one of the selected films shown during the summer months on weekly public television series, "The Silent Years" (1971), hosted by Orson Welles (New York City area, WNET, Channel 13, on July 13, 1971). In spite of its popularity and the legend behind it, what's interesting to note is that while the twelve movies featured on "The Silent Years" did enjoy rebroadcasts up till the mid 1970s, THE SON OF THE SHEIK wasn't included in the reruns. Some years would pass before its availability onto video cassette and/or DVD (Blackhawk and/or Kino), the best being from the Killiam Collection accompanied by a theater organ score by Jack Ward. THE SON OF THE SHEIK, which played as part of its silent film collection on American Movie Classics around 1996, can be currently seen and studied whenever played on Turner Classic Movies. For those interested in the legend of Valentino, THE SON OF THE SHEIK, which provides two Valentinos for the price of one, as well as being an important part in cinema history, is worthy screen entertainment. (***)

I recently saw the Son of the Sheik at an old movie house in Los Angeles. It was complete with the Wurlitzer theater pipe organ -- live accompaniment for this rare gem! I was in awe at how sophisticated and enchanting this movie was. I remarked to my husband that it reminded me of one of my trashy love novels. It was so perfect. I remember reading somewhere that Rudolph Valentino's fame came from the fact that he was so dark and handsome and muscular as opposed to the little pasty boys that had existed before him in the cinema. The scene where he exacts his revenge on Yasmin and ravishes her....was wonderful. His dark eyes as he looked at her in the close-ups.......ahhhhh. This movie truly was a treat. The desert scenes, the lush scenery and sumptuous costumes create a wonderful lavish movie. Valentino was taken from the cinema world far too early....but at least we have these lavish movies to remember him by.

I only just watched 'Son of the Sheik' on dvd last night and was amazed at the textures of cinematography and the natural un-histrionic flow of the performances. While it may not be very profound or innovative, it never set out to be, and it is a far better flick than I expected, very rounded and organic and effortless. Vilma Banky is lovely and appropriately lowkey, and Valentino is every bit as exciting to watch as his celebrity maintained. Ahmed is NOT a character performance, Oscar material or anything, but Valentino instills this cardboard figure with the warmth of life, a quickening of the pulse, all very controlled and tasteful and humanly affecting rather than superhumanly virile. Of course he looks gorgeous, but so does the film itself. Some of the slapstick may seem dated by now, but then what about 'American Pie'.

It is sadly appropriate that in his final movie Valentino plays a stronger and more nuanced version of his signature character: Sheik Ahmed, the impassioned lover who is initially impetuous, self centred and brutal, but who gradually matures into an admirable man. In this case, the male lead is actually the son of the original sheik, but Valentino also plays, just as engagingly, the father who is now middle aged, wiser (this is essentially the adviser role Adolphe Menjou had in the original movie) but still commanding and able to wield a sword.

As wasn't the case with "The Sheik," the script acknowledges the luridness of its material in a tongue-in-cheek manner (one memorable title card reads "The night was young at the Café Maure. Not a knife had been thrown—so far") while not mocking it to the point at the movie would lapse into parody and lose its pulpy charms. For example, in one of the most famous scenes the sheik tries to put his rebellious son in his place by bending an iron bar; the son replies by straightening it out. This is deliberate camp that nonetheless clearly establishes the strength of character and body of both men. The film also departs from the original in the frank comic relief it provides in the form of a nasty but amusing little mountebank who seems to get on the good and bad characters' nerves in equal measure.

For those expecting titillation, the film does not disappoint. Valentino and the leading lady Vilma Banky, were involved in real life and it shows in the spooning scenes. The film also has plenty of the rougher, even perverse sexuality that in one form or another is present in nearly all of Valentino's films (even "The Eagle," the closest to a family picture Valentino ever made, has that brief scene with the hero flourishing a whip before the frightened female lead). Here we have Ahmed's rape of Yasmine which is far racier than the merely hinted at ravishment of Lady Diana in "The Sheik," and a striking (and homoerotic) sequence in which Valentino, tied up, his tailored white shirt torn to shreds, is subject to a prolonged whipping by a gang of thieves, the most sadistic of whom addresses him as "My young lion."

To me, this is the quintessential Valentino film and the one to show people who are curious about this actor's enduring mystique.

If anyone has heard about Valentino and wants to see what all the fuss was about, The Son of the Sheik is an excellent way to do so. Here he is five years past the overacting he exhibited in parts of the earlier installment. To top it off, he plays dual roles: the son and the father. And he does both admirably. The shots of the two characters in the same frame - touching each other, no less - are flawlessly executed. Generally, this is standard melodrama culminating in physical battles between the good guys and the bad guys and a final chase. Along the way we get a lot of exotic set pieces, lavishly furnished desert tents, horses racing across the dunes, smoky cafes in which dancing girls wriggle for tossed coins and a grand palace with spacious rooms and shiny floors. The intimate scenes between Valentino and the beauteous Vilma Banky are more sensuous than those of the previous film. Clips from these scenes will be familiar to anyone who has ever seen Valentino references in documentaries. Agnes Ayres reprises her role from The Sheik as Diana Mayo, now the wife of the older sheik and mother of his son, and she appears to have aged 20 years but is no less attractive. For Valentino, Banky and Ayres alone this is a treat.