Reviews (3)

Sparkling MGM Comedy Of Jewel Thieves In High Society
"The Last of Mrs. Cheyney", in my opinion epitomises everything that MGM represented at it's peak in the late 1930's. Based on the famous and often revived stageplay by Frederick Lonsdale, we have here the perfect star vehicle for a highly sophisticated Joan Crawford at the peak of her artistic and glamourous film stardom where we find her yet again moving in levels of society above where she originated from. In this film Joan Crawford's legendary "shop girl", characterisations really came of age in a delightful confection dealing with "street smart" jewel thieves in high society who realise they are not as smart or indeed as street wise as those high society "dupes" they are prepared to fleece. The "MGM", look is rounded out by leading men William Powell (in his only appearance with Joan Crawford), and Robert Montgomery and with a beautiful class "A", production with careful attention to detail expended in every department. Indeed "The Last of Mrs. Cheyney", despite it's strange lack of success at the boxoffice in 1937, provided Joan Crawford with a refreshing change of pace which she handles very well indeed and illustrates the development in her acting abilities since her famous efforts of the early 1930's such as "Grand Hotel", and "Sadie McKee".

The famous play which this film was based on has seen many revivals including an earlier 1929 film version starring Norma Shearer and Basil Rathbone. That version was very successful however in terms of top production values this 1937 version is far superior. Joan Crawford plays Fay Cheyney, an American woman who travels easily in British high society. She possesses all the manufactured refinement, poise and conversation skills to win over the jaded aristocrats and "old money" crowd who when she has won their trust, proceeds to relieve of their ancestral jewels. In her schemes she is aided by her "butler" Charles (William Powell) and a ring of no good types intent upon making themselves rich via Fay's ability to win the trust of England's titled gentry. Setting up residence in London Fay catches the eye of young Lord Arthur Dilling (Montgomery) and elderly Lord Francis Kelton (Frank Morgan)both of whom will be at a lavish weekend party at the country residence of the Duchess of Ebley(a superb Jessie Ralph), who happens to have a valuable jewelry collection. Seeing this as the possible heist of the century Fay manages to be invited for the weekend by charming the Duchess. Fay considers herself above the titled group around her and touchingly sees herself as "a respectable adventuress rather than a criminial"! Carrying off a beautiful and rare pearl necklace however Fay is caught in the act by Lord Arthur who has his own terms and conditions about whether to turn her into the police. Just as Fay is about to abandon her "calling in life" and go away quietly with Charles who also loves her and is very protective of her welfare, highly embarrassing love letters written to Fay by an ardent Lord Kelton are revealed which turns the tables on the priviledged group assembled at the house by painting them in a very unflattering light and showing them to be no better or trustworthy than the jewel thieves currently in their midst. With this solid gold evidence in their hands Fay and Charles threaten to reveal all to the police and the courts upon which to save face a very hasty solution is found to "everyone's" satisfaction", that also sees Fay happily settled afterall with Lord Dilling in a respectable life as Lady Dilling that will definately see "the last of Mrs. Cheyney".

Despite Joan Crawford's shaking standing in Box Office terms in 1937 this film was an all out effort by MGM to provide her with just the right property to hopefully restore her standing in Hollywood. Joan had to wait for 2 more years and the role of Crystal in "The Women", for that to happen but "The Last of Mrs. Cheyney", is a respectable film sadly not well enough known today. It boasts all the expected MGM polish as became an "A" class production at this time. It combines superb art direction and settings courtesy of the celebrated Cedric Gibbons, wonderful costumes in particular for Joan by the legendary Adrian who was always expert at creating clothes for high society settings of whatever age. The supporting players alone could have earned MGM the title of having more stars than there are in heaven in particular Jessie Ralph as the no nonsense Duchess who takes a shine to Fay, Nigel Bruce as befuddled Lord Winton, and Benita Hume, Ralph Forbes and Aileen Pringle lending their always excellent support to the proceedings. The film was marked by tragedy and potential crisis during production when veteran director Richard Boleslawski suddenly died before the film was completed. Although he received sole billing as director of "The Last of Mrs. Cheyney", in actual fact the chore of completing the film was handed to famous female director Dorothy Arzner who took over the direction for the last few weeks of production. She would team again with Joan Crawford in both women's next film "The Bride Wore Red".

As a typical product of late 30's sophistication "The Last of Mrs. Cheyney", makes wonderful entertainment revealing a world removed from day to day reality with no thoughts of war or depression evident. Joan Crawford and William Powell might not be the most memorable screen team in MGM's history however their work together is polished and offers an interesting variation on Powell's work in particular with more regular co stars like Myrna Loy. Enjoy Joan Crawford as a female "Raffles" finding love in high society in the glossy "The Last of Mrs. Cheyney".

CLASSIC CRAWFORD
This movie actually contains a superior Joan Crawford performance. A beautiful example of a "class picture" from the M-G-M of 1937, this movie - surprisingly - wasn't quite successful enough on its own to pull Crawford out of the "box-office poison" category which plagued her in the late thirties. The movie is based on the Frederick Lonsdale evergreen, which was filmed previously in 1929 with Norma Shearer; the critics mostly agreed that this version was a definite improvement. Crawford got special praise for her smooth comedy playing (although she and Bill Powell had an odd chemistry) and the supporting cast was generally excellent. The Leon Gordon-Monkton Hoffe-Samuel Raphaelson script for producer Lawrence Weingarten made few alterations to the play about jewel theives in high society.... Director Richard Boleslawski, died suddenly while the film was still in production.

Joan Crawford shines as jewel thief who meets her match!
I would not consider this movie "dated" in 1999. The cast is superb with Crawford and her partner in crime Powell planning to endear her to a wealthy family,so she can steal their jewels. Crawford does not know all the pitfalls she will encounter-some hilarious ones at that. Robert Montgomery proves Crawford's ultimate test. Can she give up her exciting but shallow life of crime for him, or will he turn her in if he figures out her ploy. Watch it and have fun seeing it all unfold. ... Read more

Reviews (7)

BABY, I'M YOURS...
This is a poorly executed film that is based upon a play by Luigi Pirandello. The film opens onto a high end supper club in Budapest, where violins are playing and a chanteuse, an amnesiac who calls herself Zara (Greta Garbo), is singing to a packed audience. The languorous and world weary Zara leaves the stage, pursued by a number of enamored and decidedly unattractive stage door Johnnies of all ages, and they proceed to paint the town red.

When they arrive at Zara's home, they are greeted by the mysterious Count Salter (Erich von Stroheim), the man with whom she lives. While Zara is busy entertaining all but the audience of this film, an artist named Tony Boffie (Owen Moore) enters their home, addressing her as Maria, a woman whose portrait he painted years ago and who has been missing for ten years. Zara suddenly decides to leave with Tony, leaving the Count in a snit.

Zara and Tony go to Italy where, it turns out, a certain Bruno Varelli (Melvyn Douglas) has been pining for his wife Maria for the past ten years. It appears that Maria had disappeared in the confusion of the Austrian invasion of Italy during Word War I. Zara has no recollection of her former life, yet she tries to meld in to this life that everyone but she recalls. It is also clear that her husband is still besotted by her, despite the long, lost years.

As time passes, Zara, now Maria, begins to look more and more like the woman that Tony Boffie painted, as some of the melancholia seems to leave her. Then, a series of twists and turns, as well as a malicious attempt by Count Salter to reclaim his former lover, turn the Varelli household upside down. The moment of truth has finally arrived.

This is a mediocre film that has Greta Garbo wearing a laughable, Jean Harlow style, platinum blonde wig during her Zara days. Disjointed in its telling of the story and poorly cast, the film plods along, sinking under its own torpor. The film has little to commend it, other than the ever alluring presence of Greta Garbo. It is no surprise that this film languished at the box office when first released. If one is not a Greta Garbo fan, one should deduct one star from my rating.

As You Desire Me
"...there is nothing left in me, nothing in me, take me, take me and make me as you desire me!" Along with Gabriele D'Annunzio (poet and contemporary), Luigi Pirandello reigns an inspired playright. In his enigmatic 'As You Desire Me', Pirandello (b1867) grabs the world we think real and turns it inside out for us. A motley of frantic characters gather en scene, soon becoming lost in Pirandello's mischievous format. The explosive opening sets the mood of the play and establishes a theme of decadence. At the cortex pains a sublime amnesiac, soon we learn she is the reason-to-live of all. In the original Italian play Zara is known as La Ignotta (the unknown woman) In 'As You Desire Me' all players are promptly revealed as uncostumary theatrical metaphors, and soon the protagonist, the divine La Ignotta, is also lost in this mad delusionary conceptual design. What can be said about Thalberg's MGM's 'As You Desire Me? Perhaps, better, nothing. For us who admire Pirandello, also, D'Annunzio (his exquisite 'La gioconda' and 'la citta morta' legendary plays of Duse), this movie at first seems an aberration. The precocious theme twisted eternally in a macaw and senseless muddle. At first the movie appears only a clumpsy star vehicle. The Krupp diamond in a dime-store set. But there awaits a miracle. Perhaps not by accident a phantasmaghoric Garbo, en scene, alludes to all the intoxicating caprices in the original play. Despite Fitzmaurice's limitations and simplification of Pirandello. It's ultimately Garbo's wizardry that delivers the diaphanous riddles here. With her other-wordliness somehow she makes us forget that the author's original thought ran deeper. His brilliant attempt to illustrate, in his original tableaux, psychological and philosophical theorems to an intellectual and fastly decaying modern world. Triumphantly, before long, we realize Luigi Pirandello, the psyche manipulator, and Greta Garbo, the delicious ghost, make a good pair, and thus, succeed. Forgetting the banalities of the script. They are both elusive, but also effusive. Both 'Mata Hari' and 'As You Desire Me' were directed by George Fitzmaurivce in 1932; screenplay here by Gene Markey. In collaboration with the winning triumvirate of Adrian, William Daniels and Cedric Gibbons. 'Mata Hari' was a box-office bonanza alas 'As You Desire Me' languished (please look up my review of MGM's 'Mata Hari') It's curious these immense stories somehow lost their rightful thematic guideline. Indeed, of course, they remain luminous classics nevertheless. Take me, take me and make me as you desire me.

AN ECCENTRIC VEHICLE FOR MISS GARBO
Zara (Garbo) is a cafe entertainer in Budapest. She has amnesia. Tony Boffie (Owen Moore) sees her and identifies her as Maria, the wife of Count Bruno Varelli (Melvyn Douglas). Boffie, a portrait painter, had done a painting of Maria at the time of her marriage. She was believed to have been killed when the Austrians invaded Italy during the war................This is a rather ludicrous vehicle for Garbo wherein she even wears a platinum blonde wig - I was glad when she got back to her own locks! Although this was Garbo's first film with Melvyn Douglas, they were to make a screen hit together seven years later in NINOTCHKA.

Disappointing
I'm nuts about Garbo. I've seen 16 Garbo films, including 3 of the Silents. This was by far the least interesting I've yet seen. Typically, Garbo's mere presence makes a movie worthwhile, but this is an exception. It's odd to see Garbo as a blonde in the beginning of the film, but she is her usual alluring self. Unfortunatly, as the movie progresses, the plot stalls and Garbo's character is passive and uninteresting. It's not HER acting that disappoints; It's the dull plot and bored Melvyn Douglas as Garbo's hubby. Even if you love Garbo, this is still a movie you can miss or wait until it shows up on Turner Classic Movies. For an early Garbo talkie unexpected treat, try "Romance".

A Must!
Lore has it that this is the only time Garbo appears as a bleached blonde. This is one of my favorite films of all time & contains one of the sexiest love scenes I have ever seen - one passionate kiss that ranks in the top five kisses on film that I have ever seen. A MUST see for the Garbo or any period film fan. Yes she is the Drama Queen and overplays every line but no one does it as well as Garbo matter of fact her over-acting is refreshing in the face of all the under-acting we see nowadays. This film will surely be out of print soon so order it NOW. ... Read more

Amazon.com essential video

She's a household name that conjures up international intrigue and wartime espionage, predatory sexuality and fatal passion. So how is it that none of the several movies titled Mata Hari is very satisfying? This Greta Garbo vehicle is much less interesting than the 1931 Sternberg-Dietrich film Dishonored (whose doomed spy lady went by the name X-27). The divine Swede plays the Javanese-Dutch exotic dancer who romances a Russian aviator in perfumed Paris on behalf of German intelligence. It's typical that the Balinese temple harness Garbo almost wears in the first nightclub number looks sexier in stills than it does in motion: Mata Hari is less a film than the idea for a film. George Fitzmaurice's direction is static, silent-era holdover Ramon Navarro makes a cookie-dough leading man, and the feisty Karen Morley (as Mata's secret-agent colleague) exits the picture much too soon. The gowns--and harness?--are by Adrian. --Richard T. Jameson ... Read more

Reviews (10)

a good Garbo movie
I'm not the biggest Garbo fan. To me she always looked like she would rather be asleep. But this movie is a good one. Hokey, yes. Garbo's dance scene at the beginning was bad even for 1931, just a few struts over a few seconds. Yet there is romance, suspense and some excellent acting. Lionel Barrymore really makes you feel the inner torture of the traitorous Russian general, and Lewis Stone, best known as Andy Hardy's warm and wise dad, is very believably cold and ruthless as the spymaster. Ramon Novarro may have been gay, but the passion between him and Garbo seems real. Even Garbo herself is more lifelike and interesting in this film. If you are into good old movies, you've got to see this one.

Greta Garbo and Ramon Novarro in this camp classic
Greta Garbo plays "Mata Hari," the notorious dancing Germany spy working in Paris during World War I, although her dancing consists mainly of moving slowly through draperies while wearing fantastic gowns created by Adrian. Although she has already secueded General Shubin (Lionel Barrymore), she has here eyes on Lt. Alexis Rosanoff (Ramon Novarro), young a Russian aviator (despite the Spanish accent). Mata Hari makes the mistake of falling in love with Rosanoff, which is not a good move for a spy. The increasingly jealous Shubin is warned she is a spy and all he needs to do is wait for enough evidence to send her to the firing squad, but not before she has a final scene with her beloved flier, who has been blinded in a plane crash. I should point out this happens to him because before he makes love to Mata Hari, she gets him to put out the sacred candle before his icon of the Virgin, given to him by his own mother to protect his virtue. You have to love the heavy handed symbolism of this bit. This 1932 film directed by George Fitzmaurice has little to do with the true story of Mata Hari, who was middle-aged and so bad of a spy she was caught and shot. But "Mata Hari" gives Garbo a chance to dress up in exotic costumes and exquisite gowns, which makes this film a camp classic and enjoyable on those grounds.

The Eye of Morning
Mata Hari arrived in Paris and soon began to spin a web of sorcery. Her naked body (that same body that was later to be riddled with bullets)her password to a greedy world of material success.Margaretha Geertruida Zelle MacLeod enjoyed a happy childhood in Holland the darling of a dotting father. Early restlessness brought her to Java, the mail-bride of a brute. There, in Indonesia, amid crushing tragedy and spousal abuse, Gertie absorbed the artistic concepts that will one day found her applauded, then, mowed down by a French firing squad. Poor judgment, and Eastern flair, and a gluttony for men, contrived to make her eternal. But was Gertie a spy? The visionary Irving Thalberg secured the rights to Mata Hari's notebooks and thus MGM began production starring Greta Garbo. I find this 1932 film a work of contrasts. To watch Garbo mise-en-scene through the lens of William Daniels, in a genial atmosphere assembled by Cedric Gibbons, rapturous, is truly a fine thing. MGM's 'Mata Hari' remains a unique accomplishment. Though one wonders how the silly story-theme ever passed Thalberg. There is a dichotomy here, style versus substance (a chronic blemish with some of Garbo's films) The developing narrative is puerile, and mind you, the early thirties boasts many a gritty film. More than an actress Garbo is a virtuosa, a poseur. Thus she offers art more priceless, a curious and singular spiritual apogee, such pulchritude and distinction. Watch her shoulders ache suddenly as she plays piano en-scene, as her stock-in-trade matinee idol grasps her from behind wantonly. Watch her match wits with Lewis Stone, tonight her spy-master. Watch Garbo in the third act climb the hospital stairs Adrian head-to-toe. Watch her watch her. But! if I hear Ramon Navarro one more time call her "...Mata!" I think I'd croak (her name is M-A-T-A-H-A-R-I) How many times I've seen 'Mata Hari' I'm ashamed to say. The last viewings have been in the wee hours where there reigns a sad and profound solitude. On cue Greta emerges, like Cybele, to temporarily soothe my ills. Soon, I hear a halting viola: "...I come to you Si-va! like the bayaderes dance in your sacred temples in Java...!" Mata Hari! Mata Hari! Mata Hari! Mata Hari!

garbo's best movie
the charms of the great garbo elude me since it always seems she is 15 seconds away from falling asleep. I guess you had to be alive in 1931. but this movie is darn entertaining. extremely hokey, of course, but garbo's performance makes you take it seriously. it has an excitement rare for one of her movies. also an excellent performance by lewis stone, who is usually a human sequoya tree although likeable. also interesting because of ramon (ben hur) novarro as the russian pilot who goes ape over mata. lionel barrymore eats his usual amount of scenery but he's good, too. if mata hari had really danced like garbo does at the start of this movie, no one would ever have heard of her. talk about a stiff-assed swede!

gorgeous Garbo!
Actually, the only real reason I wanted to see this picture was the alluring Greta Garbo. The woman radiates mystery, which in today's cinema is all-to-rare. She is really the best thing about this film, which is kind of cheesy in everything else. The costumes are gorgeous, the sets are well-contrived, but it's the worn story and wooden acting all around Garbo that drag this film down.
This is a Hollywood rendering of a famous spy, Mata Hari, who, on being caught, is executed by firing squad in the end. There is no faulting Garbo's contribution, as she slithers from one scene to the next, fully convincing as the ill-fated, beautiful spy. I only the rest of the cast had put forth that much effort! Ah well.
Fans of Miss Garbo will, no doubt, fully enjoy this film, as Garbo is actually very moving in her scenes. Now don't get me wrong, I actually enjoyed this film, myself. I just wish more effort could have been put forth by just a few more of her colleagues.
I give this film four stars on the basis of Garbo's unique ability to light up the screen whenever she appears, and for the glorious costumes that populate her environment. Just sit back and enjoy the visual treat that was Greta Garbo. ... Read more

Reviews (2)

Fine Performances In Claptrap Melodrama
Fine performances help this otherwise silly story of a World I-era show girl whose romantic entanglements lead her to uncover a German spy ring. Harlow and Tone are acceptable in their roles, and Harlow's charisma is given full play with her singing voice believably dubbed by vocalist Virginia Verrill; Lewis Stone also stands out in a supporting role. But the film belongs to Cary Grant, who gives a truly fine performance as the reckless, philandering flying ace that Harlow loves.

The first half hour or so of the film is both slow and improbable; the remainder of the film is just as silly, but with the entrance of Cary Grant, however, the film picks up steam. Most viewers will enjoy the dog-fight scenes; discerning viewers will be amused to find Harlow's 1930s gowns uneasily mixed with the WWI background. Fans of the stars will certainly want the film in their collection, but the claptrap plot reduces it to a minor effort that few others will enjoy.

Well worth discovering
This relatively overlooked movie has a little of everything:romance, comedy, tragedy, Paris, war, espionage and some eminentlywatchable stars. Harlow is beautiful, Grant is handsome and both are hugely talented,able to play light comedy in one scene and affecting drama in the next.The story is not particularly well-str uctured - it tries a little too hard to please every kind of viewer in every kind of way - but George Fitzmaurice's direction is disciplined enough to drive the movie on in a brisk and and engaging manner.If you are an admirer of Harlow or Grant,then this is simply unavoidable.If you want to find out why either star is so fondly remembered,then try this (along with,say,Platinum Blonde and Dinner at Eight) for Harlow,but look elsewhere (at those movies from a year or so later,like The Awful Truth or Bringing Up Baby,or any others up to 1966) for Grant.If you just want to see an entertaining, unpretentious black-and-white movie from the mid-thirties,then this is well worth giving a try. ... Read more

Reviews (11)

Good film!
This is another good film Rudolph Valentino fans will surely enjoy. In this film he plays a dual role, that of father and son. There is romance, action and a little bit of comedy in the scene where the young sheik tries to hide the cute Vilma Banky from his strict father. Agnes Ayres reprises her role from the 1921 film as Lady Diana Mayo. While this is a good film, I am partial to the 1921 "Sheik" film that started it all. Watch them both and decide for yourself! That's the best thing to do, as they are both worth owning for the talented and handsome Rudolph Valentino.

The Magic of Rudolph Valentino . . . . . .
I am a huge Rudolph Valentino fan. I have been a collector for many years, collecting old Photoplay magazines, photos, tins, postcards, etc. I, also, have most of his films on tape. That is, the films that are still existing today. All the other so called great lovers are measured by Rudy's standards. No one, past or present can compare to the Latin Lover. Now - onto the movie.

Son of the Sheik was Valentino's last film before his untimely death at 31. This film is incredible. Rudy plays both the son and the formidable sheik in this, his last film. He falls in love with a dancing girl, Yasmin, played by Vilma Banky. They fall in love until he is captured and tortured. Believing Yasmin to be responsible, he escapes and extracts his own form of revenge. The tent scene where he has Yasmin at his mercy was incredibly sensuous. You KNEW what Ahmed was planning to do to the beautiful Yasmin. She knew it, too, but was powerless to stop him. No matter how much pleading and begging she did, he drove her mercilessly to his bed. One word - WOW! True love prevails, though, and all is saved.

Some might find a silent movie to be a bit corny but not I. There is something enchanting - magical about watching Rudy. He is without a doubt, the most graceful man captured on film. No ONE walks or dances the way Rudy does. He is poetry in motion. I could watch him for hours . . .

He was blessed with a sinful handsomeness and those eyes . . . They were almost hypnotic in their intensity. It is soooooo easy to see why the women in the 1920's were filled with hysteria for this Latin Lover. After all of these years has passed, his appeal shines forth in this, his final film. There will never be another Rudolph Valentino. He simply graced the screen with his presence and changed everyday life into something magical. While watching him weave his magic, we forgot our troubles if only for a little.

*There is only one regret the world must have had when Rudy died. His voice was never recorded. His singing was but nothing of him "speaking". There has been much speculation over his voice and the transition from silent films to talkie films. Would he have made such a successful transition where others had failed? I believe he would have. But we will never know for sure.*

A true legend of the silent screen ...
"Not east of Suez but south of Algiers" ... with these intertitles abounds one of the greatest legends of the Hollywood that is no more. When one thinks of those times one remembers The Wizard Of Oz, Casablanca ... and those
scenes between Rudolph Valentino and Vilma Banky in a tent under
the desert sun.
Made in 1926 for United Artists, directed by master director
George Fitzmaurice and destined to even beat the 1921 original
"The Sheik" at the box office, this sequel to the former Valentino classic is in many ways the better of the two films.
Rudolph Valentino has never looked better than in this film, which would ultimately be his last, and Hungarian born Vilma
Banky outshines the original heroine Agnes Ayres from the "The Sheik" as well, together making these film the ultimate love story of the silent film age. Agnes Ayres however also appears in this film as the Sheik`s mother as a tribute to Valentino (his father is played by Rudy as well in a double role). But the movie has more assets to it. It is also more handsomely produced than "The Sheik", it has a far more glossy look with its` bigger budget and excellent art direction (by William Cameron Menzies of "Gone With The Wind"-fame), a slightly better script and it exposes far better the enormous acting range of Rudolph Valentino, who is still seen today only as the great Latin Lover (despite for example also being a great drama actor or comedian). The big difference might also líe in the fact that "The Sheik" was a typical product of the studio system and "The Son Of The Sheik" was made far more independently. The other interesting fact is that when this movie was made the silent film style had changed greatly since 1921, making the former film look far more primitive. And it is no wonder that all the famous scenes by which Rudolph Valentino is still judged today emerge from this movie, while the other Valentino films (even "The Sheik") are mostly forgotten today - this movie has its place as a sort of silent screen pop icon (and probably the only silent film most people have heard of in their lifetime today - I remember that as a child I only knew one silent film actor - Rudy, courtesy of this film). This
is also probably the curse of this film. It overshadowed all of his work so much and even made the critical judgment of "The Son Of The Sheik" nearly impossible. In fact it is an entertaining piece of Hollywood fairytale, packed with action and romance, exotic escapism and a great climax when Rudolph Valentino frees his love interest Banky from a band of robbers and rides with her into the endless desert ... and right into movie eternity. Truly a film of these ages, even not hampered by its dated plotline and some outrageous "silent film acting".

A note about the video quality: after being available for two decades only on bad quality tapes, KINO on Video now has released the first really good print of this film. Though not as beautiful as some of their other films or a Kevin Brownlow restoration, this version is multi-tinted and has an appropiate organ score that enhances many of the scenes. Only some of the reels seem a bit washed out, but at least you have now the chance to get a good quality video tape from Rudy`s most famous film.

VALENTINO'S FINEST FILM.
Like many classic movie buffs, I often wondered what all the fuss about Rudolph Valention a.k.a. "The Great Lover" was about. The answer lies in watching this mesmorizing film! Really a tongue-cheek examination of his own bigger-than-life personna, the actor magnificently portrays the double role of father and son. As Ahmed, the son, Rudy falls in love with the Hungarian Vilma Banky (as Yasmin), a beautiful dancer. Ahmed later holds the beguiling young woman responsible when he is captured and held for by her roguish father's thieves. When Ahmed's father, the Shiek, intervenes, it is discovered that Yasmin is innocent of betrayal and after some heavy derring-do, there is a happy ending. This fast-paced film from 1926 has lost none of it's charm with the passage of time and proves over and over again that Valentino was without question the least understood and most maligned of all of Hollywood's great stars. He was indeed an enigmatic presence in this film. The photography is ethereal, and the desert looks more enchanting here than in any film, and the chases, rescues and stunts are still wonderful to watch. Valentino would die prematurely at the age of 31 of peritonitis 26 August, 1926. For a great companion piece, watch Valentino's great 1921 hit THE FOUR HORSEMEN OF THE APOCALYPSE.

Mesmerising !
On the strength of reading other reviews I held off buying the double DVD..The Sheik/Son of the Sheik and elected to buy KINO's version of Son of the Sheik and I have to say I am not disappointed.The quality of the picture far exceeded my expectations;the clarity is sharp and sound is equally good.Silent films have to rely heavily on emotion and the different moods portrayed by Valentino are startling, Vilma Banky holds her own but it is Valentino's movie; the down side is there are no extras bar chapter listing,it would have been nice but in truth I am not too bothered.I hope KINO issue an equally if not better DVD of The Sheik, look forward to it. ... Read more

Reviews (11)

Good film!
This is another good film Rudolph Valentino fans will surely enjoy. In this film he plays a dual role, that of father and son. There is romance, action and a little bit of comedy in the scene where the young sheik tries to hide the cute Vilma Banky from his strict father. Agnes Ayres reprises her role from the 1921 film as Lady Diana Mayo. While this is a good film, I am partial to the 1921 "Sheik" film that started it all. Watch them both and decide for yourself! That's the best thing to do, as they are both worth owning for the talented and handsome Rudolph Valentino.

The Magic of Rudolph Valentino . . . . . .
I am a huge Rudolph Valentino fan. I have been a collector for many years, collecting old Photoplay magazines, photos, tins, postcards, etc. I, also, have most of his films on tape. That is, the films that are still existing today. All the other so called great lovers are measured by Rudy's standards. No one, past or present can compare to the Latin Lover. Now - onto the movie.

Son of the Sheik was Valentino's last film before his untimely death at 31. This film is incredible. Rudy plays both the son and the formidable sheik in this, his last film. He falls in love with a dancing girl, Yasmin, played by Vilma Banky. They fall in love until he is captured and tortured. Believing Yasmin to be responsible, he escapes and extracts his own form of revenge. The tent scene where he has Yasmin at his mercy was incredibly sensuous. You KNEW what Ahmed was planning to do to the beautiful Yasmin. She knew it, too, but was powerless to stop him. No matter how much pleading and begging she did, he drove her mercilessly to his bed. One word - WOW! True love prevails, though, and all is saved.

Some might find a silent movie to be a bit corny but not I. There is something enchanting - magical about watching Rudy. He is without a doubt, the most graceful man captured on film. No ONE walks or dances the way Rudy does. He is poetry in motion. I could watch him for hours . . .

He was blessed with a sinful handsomeness and those eyes . . . They were almost hypnotic in their intensity. It is soooooo easy to see why the women in the 1920's were filled with hysteria for this Latin Lover. After all of these years has passed, his appeal shines forth in this, his final film. There will never be another Rudolph Valentino. He simply graced the screen with his presence and changed everyday life into something magical. While watching him weave his magic, we forgot our troubles if only for a little.

*There is only one regret the world must have had when Rudy died. His voice was never recorded. His singing was but nothing of him "speaking". There has been much speculation over his voice and the transition from silent films to talkie films. Would he have made such a successful transition where others had failed? I believe he would have. But we will never know for sure.*

A true legend of the silent screen ...
"Not east of Suez but south of Algiers" ... with these intertitles abounds one of the greatest legends of the Hollywood that is no more. When one thinks of those times one remembers The Wizard Of Oz, Casablanca ... and those
scenes between Rudolph Valentino and Vilma Banky in a tent under
the desert sun.
Made in 1926 for United Artists, directed by master director
George Fitzmaurice and destined to even beat the 1921 original
"The Sheik" at the box office, this sequel to the former Valentino classic is in many ways the better of the two films.
Rudolph Valentino has never looked better than in this film, which would ultimately be his last, and Hungarian born Vilma
Banky outshines the original heroine Agnes Ayres from the "The Sheik" as well, together making these film the ultimate love story of the silent film age. Agnes Ayres however also appears in this film as the Sheik`s mother as a tribute to Valentino (his father is played by Rudy as well in a double role). But the movie has more assets to it. It is also more handsomely produced than "The Sheik", it has a far more glossy look with its` bigger budget and excellent art direction (by William Cameron Menzies of "Gone With The Wind"-fame), a slightly better script and it exposes far better the enormous acting range of Rudolph Valentino, who is still seen today only as the great Latin Lover (despite for example also being a great drama actor or comedian). The big difference might also líe in the fact that "The Sheik" was a typical product of the studio system and "The Son Of The Sheik" was made far more independently. The other interesting fact is that when this movie was made the silent film style had changed greatly since 1921, making the former film look far more primitive. And it is no wonder that all the famous scenes by which Rudolph Valentino is still judged today emerge from this movie, while the other Valentino films (even "The Sheik") are mostly forgotten today - this movie has its place as a sort of silent screen pop icon (and probably the only silent film most people have heard of in their lifetime today - I remember that as a child I only knew one silent film actor - Rudy, courtesy of this film). This
is also probably the curse of this film. It overshadowed all of his work so much and even made the critical judgment of "The Son Of The Sheik" nearly impossible. In fact it is an entertaining piece of Hollywood fairytale, packed with action and romance, exotic escapism and a great climax when Rudolph Valentino frees his love interest Banky from a band of robbers and rides with her into the endless desert ... and right into movie eternity. Truly a film of these ages, even not hampered by its dated plotline and some outrageous "silent film acting".

A note about the video quality: after being available for two decades only on bad quality tapes, KINO on Video now has released the first really good print of this film. Though not as beautiful as some of their other films or a Kevin Brownlow restoration, this version is multi-tinted and has an appropiate organ score that enhances many of the scenes. Only some of the reels seem a bit washed out, but at least you have now the chance to get a good quality video tape from Rudy`s most famous film.

VALENTINO'S FINEST FILM.
Like many classic movie buffs, I often wondered what all the fuss about Rudolph Valention a.k.a. "The Great Lover" was about. The answer lies in watching this mesmorizing film! Really a tongue-cheek examination of his own bigger-than-life personna, the actor magnificently portrays the double role of father and son. As Ahmed, the son, Rudy falls in love with the Hungarian Vilma Banky (as Yasmin), a beautiful dancer. Ahmed later holds the beguiling young woman responsible when he is captured and held for by her roguish father's thieves. When Ahmed's father, the Shiek, intervenes, it is discovered that Yasmin is innocent of betrayal and after some heavy derring-do, there is a happy ending. This fast-paced film from 1926 has lost none of it's charm with the passage of time and proves over and over again that Valentino was without question the least understood and most maligned of all of Hollywood's great stars. He was indeed an enigmatic presence in this film. The photography is ethereal, and the desert looks more enchanting here than in any film, and the chases, rescues and stunts are still wonderful to watch. Valentino would die prematurely at the age of 31 of peritonitis 26 August, 1926. For a great companion piece, watch Valentino's great 1921 hit THE FOUR HORSEMEN OF THE APOCALYPSE.

Mesmerising !
On the strength of reading other reviews I held off buying the double DVD..The Sheik/Son of the Sheik and elected to buy KINO's version of Son of the Sheik and I have to say I am not disappointed.The quality of the picture far exceeded my expectations;the clarity is sharp and sound is equally good.Silent films have to rely heavily on emotion and the different moods portrayed by Valentino are startling, Vilma Banky holds her own but it is Valentino's movie; the down side is there are no extras bar chapter listing,it would have been nice but in truth I am not too bothered.I hope KINO issue an equally if not better DVD of The Sheik, look forward to it. ... Read more

Reviews (3)

A GOLDWYN - COLMAN HIT.
In a fine performance which showcased his famous voice, Ronald Colman plays A.J. Raffles, a famed British cricket player who is also the "Amateur Cracksman" an equally famous criminal who constantly eludes Scotland Yard. Based upon the 1899 novel THE AMATEUR CRACKSMAN by Ernest William Hornung, the cast includes Kay Francis as Lady Gwen Manders (later played by Olivia de Havilland in the inferior 1939 version starring David Niven), the now-forgotten Frances Dade and, as Lady Kitty Melrose, Alison Skipworth. The direction of this film was done by two men: the French D'Arrast was fired by Goldwyn after endless bickering; he was replaced by George Fitzmaurice. This film received almost unanimously favourable reviews when it was released in 1930; both Samuel Goldwyn and Ronald Colman benefitted by the advent of sound in the movies: Goldwyn would produce some of the finest, most prestigious films in Hollywood, and Colman would make women swoon with his perfectly modulated English speaking voice (he could also act as well).

More Colman
Buy it..watch it..enjoy it..savor it. Yes, another Colman film for the old collection. So you are running out of shelf space. One can always find space for another RC movie. Do it, you won't be disappointed.

Superb early talkie, excellently restored!
I just saw this excellent restoration of a 1930 talkie from Goldwyn Studios. The black and white camera work is good; even the sound is good! It has been digitally reprocessed for surround sound. Ronald Colman is suave as ever as Raffles, the amateur cracksman. Kay Francis is also charming as Colman's love interest. Colman and Francis would team again two years later in the shamefully neglected film, Cynara (1932). Hopefully, Goldwyn Studios will restore it also. I know some critics might call a movie such as Raffles a trifle dated, but therein lies its charm! Having just seen the new Austin Powers film, it was nice sitting back, relaxing, and watching this chamber drama from another era. Highly recommended! I give it 3 stars only in comparison to some of Colman's other great films. ... Read more