Career course correction for Rudolph Valentino, put together by producer Joseph M. Schenck after artsy projects & effete characterizations chipped away box-office clout. This commercially savvy United Artists release about a young Russian officer who opts for true love over a Czarina’s invitation/assignation is an All A-list affair. Clarence Brown to direct; Hanns Kräly just after FORBIDDEN PARADISE/'24 a superior naughty Czarina tale written for Ernst Lubitsch; George Barnes on camera; elaborate Muskovy sets from William Cameron Menzies a year after THIEF OF BAGDAD for Douglas Fairbanks; more Fairbanks influence from a second storyline out of THE MARK OF ZORRO/’20; top Goldwyn leading lady Vilma Bánky as love interest/villain’s daughter; prestige from Louise Dresser sharing second billing for ten minutes screen time; etc. The film works, but remains earth-bound & mechanical. Product. Two films on, THE SON OF THE SHEIK/26, again with Bánky, got everything right this one got half-right. Alas, Rudolph Valentino, only 31, died before its release.
DOUBLE-BILL/LINK: Ironically, SON OF THE SHEIK, Valentino’s last film, is also the best introduction to his work. But his best remains his breakthru role in Rex Ingram’s staggeringly fine FOUR HORSEMAN OF THE APOCALYPSE/’21 though its tableau staging suffers on a small screen. OR: See Louise Dresser earn her salary with director Clarence Brown on their previous film THE GOOSE WOMAN/’25. https://maksquibs.blogspot.com/2009/08/goose-woman-1925.html
ATTENTION MUST BE PAID: Usually spot on, the new Alloy Orchestra score on KINO-DVD misses the mark.
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