MissSimonetta 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

angeley 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.

RudyValentinoFan Is this film realistic? No. Does it support outdated stereotypes of Middle Eastern desert people? Yes. Is the storyline a little disturbing? Yes...it's about a woman falling in love with a man who abducts her and overpowers her. The film industry in the United States today would have a very difficult time getting this movie made, but the 1920s were a different time. This is a great movie to watch to see how much films have changed in less than a century. And this film is a must-see for anyone curious about Valentino and his legendary appeal. The acting is melodramatic, and Valentino is often laughable - not what we would consider irresistibly sexy today (to see better acting from Valentino, try the sequel, The Son of the Sheik). But even so, Valentino has charisma, and upstages all of his co-stars, playing a part that is both villain and romantic hero. I highly recommend it. Even if you aren't enthralled by Valentino or by what this film can tell you about the 1920s, there is a lot of unintentionally funny scenes to keep you amused!

pocca 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.