One of my all time favorites.

In other words,this film is a surreal ride.

Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

This is a dark and sometimes deeply uncomfortable drama

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

Surprisingly, the best acting in this exotic melodrama comes from Agnes Ayres and Adolphe Menjou as the sheik's victim/lover and old friend, respectively. Valentino, although he had proved his abilities in Four Horsemen of the Apocalypse and other films, indulges in too much eye popping and grimacing to convey lust for Ayres. Fortunately, these displays are toned down as the film unspools. As a story it's unoriginal, somewhat tedious and entirely predictable: devil-may-care British girl adventuring in the Sahara catches the eye of a local chieftain who kidnaps her, kisses her a couple of times, holds her prisoner until she yields to his desire – all in the most chaste fashion. The overheated and verbose novel on which the film is based is far racier than what is on screen. Yet still this film caused quite a stir back in the early twenties. It is sumptuously mounted with a large cast, well shot scenes of horsemanship and astoundingly realistic looking "desert" locations which were actually filmed on the beaches of Long Island! The photography and intertitle design are beautiful. But whether Valentino overacts or hits the mark, he is always worth watching.

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!

I read the book many years ago, and also read a biography on Rudolph Valentino. At last I have finally got to watch the film on DVD. To me it was a lesson in how not to do two things at the same time. To truly watch a silent movie you really can't be doing something else. Not a bad thing really. Seeing the facial expressions told the story as much as the lovely old script text, and piano music. I wonder if modern day actors and actresses could convey the story and how they are feeling today. I am sure that a lot of women would still "swoon" at Rudolph Valentino when he gives that magnetic smile, not to mention the men with the contrasting emotions of feisty to demure of Agnes Ayers. A good old fashioned romance with a happy ending, but like all films,never a clone of the book. Definitely worth viewing, if only for nostalgia's sake.