From the very beginning 'The son of the sheik' adopts a convivial air even more playful than its predecessor. The music is upbeat and lively, and the characters first introduced are notably ragtag and rough to comedic effect. To be honest, even the very premise carries a certain lack of seriousness as the scenario begins, and the first scenes to greet us are rife with humor.
Just as quickly, though, our rapt attention is given to the outstanding visuals. Nearly 100 years later, the costume design is still deeply alluring, and like the swell set design, filled with great detail. Arizona and California are fine stand-ins for the deserts of a distant land, and perhaps on account of Rudolph Valentino's star power, the production values seem especially well considered.
To that point - Valentino's legend is secure. There's no doubt he was an excellent actor, and he proves it here with stewing subtlety of emotion - yet even at that, everyone who shared the screen with him was no less skilled. Casts of the silent era were not truly bound by its technical limitations, and lack of sound or verbal dialogue in a way allows their performances to flourish all the more. The strictly visual nature of silent films relies heavily on facial expression, body language, and sometimes exaggerated movement to emphasize story beats and characters' emotional states - a challenge that arguably requires even greater acting chops. Actors convey all they need to without any need to speak, and here that especially goes for Vilma Bánky, starring opposite Valentino as love interest Yasmin. She demonstrates great range and force of personality that defies the constraints of the medium, and it's a true joy to watch her.
The nature of performances in silent films lend to even more grand spectacles, and there's no small amount to observe in 'The son of the sheik.' Where its 1921 antecedent focused strongly on the romance in the story, this feels much more like an adventure flick with elements of drama and romance, and humor peppered throughout. Marvelous displays of dance are captured expertly as the camera dotes on shadow, or pulls back to play up the grandeur of a moment, and these are just as exciting as the well coordinated fight scenes. The drama that unfolds throughout the narrative - trickery, misunderstandings, divisions - is just as duly captivating.
It's hard not to compare 'The son of the sheik' to 'The sheik,' and this goes as well for their flaws. The 1926 picture does not have the same issues as the 1921 movie with dubious depictions of other cultures - at least, certainly not to the same extent. 'Son of the sheik' does, however, famously include a scene of vengeful repayment that is less than palatable, even if it's only suggested, and which makes the ultimate resolution of the plot marginally questionable. This also feels more fast-paced, and while not necessarily any less attentive to nuance, scenes aren't given as much opportunity to meaningfully breathe and resolve before the feature cuts to the next.
These things are important to note, yet the faults do not outweigh what is generally a superb story, careful production design, and outstanding performances. If imperfect, 'The son of the sheik' is nonetheless highly entertaining. It remains a gem of cinema that holds up ninety-five years later, and is well worth seeking out to revisit, or even yet to watch for the first time.
Just as quickly, though, our rapt attention is given to the outstanding visuals. Nearly 100 years later, the costume design is still deeply alluring, and like the swell set design, filled with great detail. Arizona and California are fine stand-ins for the deserts of a distant land, and perhaps on account of Rudolph Valentino's star power, the production values seem especially well considered.
To that point - Valentino's legend is secure. There's no doubt he was an excellent actor, and he proves it here with stewing subtlety of emotion - yet even at that, everyone who shared the screen with him was no less skilled. Casts of the silent era were not truly bound by its technical limitations, and lack of sound or verbal dialogue in a way allows their performances to flourish all the more. The strictly visual nature of silent films relies heavily on facial expression, body language, and sometimes exaggerated movement to emphasize story beats and characters' emotional states - a challenge that arguably requires even greater acting chops. Actors convey all they need to without any need to speak, and here that especially goes for Vilma Bánky, starring opposite Valentino as love interest Yasmin. She demonstrates great range and force of personality that defies the constraints of the medium, and it's a true joy to watch her.
The nature of performances in silent films lend to even more grand spectacles, and there's no small amount to observe in 'The son of the sheik.' Where its 1921 antecedent focused strongly on the romance in the story, this feels much more like an adventure flick with elements of drama and romance, and humor peppered throughout. Marvelous displays of dance are captured expertly as the camera dotes on shadow, or pulls back to play up the grandeur of a moment, and these are just as exciting as the well coordinated fight scenes. The drama that unfolds throughout the narrative - trickery, misunderstandings, divisions - is just as duly captivating.
It's hard not to compare 'The son of the sheik' to 'The sheik,' and this goes as well for their flaws. The 1926 picture does not have the same issues as the 1921 movie with dubious depictions of other cultures - at least, certainly not to the same extent. 'Son of the sheik' does, however, famously include a scene of vengeful repayment that is less than palatable, even if it's only suggested, and which makes the ultimate resolution of the plot marginally questionable. This also feels more fast-paced, and while not necessarily any less attentive to nuance, scenes aren't given as much opportunity to meaningfully breathe and resolve before the feature cuts to the next.
These things are important to note, yet the faults do not outweigh what is generally a superb story, careful production design, and outstanding performances. If imperfect, 'The son of the sheik' is nonetheless highly entertaining. It remains a gem of cinema that holds up ninety-five years later, and is well worth seeking out to revisit, or even yet to watch for the first time.