The Sheik (silent film)
"The Sheik" is a silent film released in 1921 that became a significant cultural touchstone, particularly for its role in launching the career of actor Rudolph Valentino. Adapted from a popular romantic novel by Edith Maude Hull and directed by George Melford, the film intertwines themes of adventure and romance set against an exotic backdrop. The plot follows independent British aristocrat Lady Diana Mayo, who embarks on a journey into the Arabian desert, where she encounters the titular character, Sheik Ahmed Ben Hassan, portrayed by Valentino. Their initial clash of cultures evolves into a romantic connection, reflecting the shifting attitudes toward women's freedom and agency in the post-World War I era.
While primarily a romantic narrative, "The Sheik" capitalizes on the period's fascination with the exotic and the allure of the "Latin lover" archetype, which Valentino embodied. The film was a commercial success, influencing popular culture through its box-office performance and inspiring the well-known song "The Sheik of Araby." Valentino’s portrayal had a lasting impact on the depiction of masculinity and romance in cinema, contributing to the evolving social norms of the Roaring Twenties. Additionally, the film's sequel, "The Son of the Sheik," featured Valentino in a dual role and marked the actor's final film before his untimely death shortly after its premiere.
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The Sheik (silent film)
Identification: A silent film about the relationship between an English woman and an Arab sheik
Director: George Melford
Date: 1921
The Sheik established the career of actorRudolph Valentino and portrayed, through the female lead, the newly found freedom women experienced after World War I.
The Sheik was based on a popular romantic novel by Edith Maude Hill and was directed by George Melford, who later directed Dracula (1931). Although it was shot in Santa Barbara County, California, the film successfully capitalized on the exoticism rampant in American society at the time.
The Sheik’s relatively straightforward plot combines adventure in a foreign land with romance. Independent British aristocrat Lady Diana Mayo (Agnes Ayres) is traveling alone in Arabia and wants to visit the desert. As she awaits her journey, Sheik Ahmed Ben Hassan (Valentino) takes over the local casino for the amusement of his men. Upon seeing her, Sheik Ahmed is smitten by Lady Diana, who is outraged that an Arab can commandeer the casino and exclude white Europeans. Although forewarned, Lady Diana ventures into the desert without a Western escort and is abducted by Sheik Ahmed. In desperation, she flees into the sands only to be captured by the bandit Omair (Walter Long), who she quickly learns is less restrained than the sheik. While in captivity, Lady Diana realizes that she has fallen in love with Ahmed. After the sheik rescues her from Omair, it is revealed that the sheik’s father was British and his mother Spanish, which makes him Caucasian, rather than Arab, by birth. At the end of the film, Lady Diana and Sheik Ahmed express their love for each other.
Five years later, the lead actors, Valentino and Ayres, reprised their roles in the film’s sequel, The Son of the Sheik, in which Valentino played both the father and son. The sequel was his last film, and he died eight days after its New York City premiere.
Impact
The Sheik was a box-office hit and made Valentino a star, contributing to the creation of the Latin lover image. The film also inspired the popular song “The Sheik of Araby,” affected the slang of the period, and even purportedly provided the name for the mascot of Hollywood High School. Valentino’s slicked-back hair, swarthy good looks, and smoldering sensuality may have contributed to the loosening of sexual norms during the Roaring Twenties.
Bibliography
Dijkstra, Bram. Evil Sisters: The Threat of Female Sexuality and the Cult of Manhood. New York: Henry Holt, 1998.
Leider, Emily Wortis. Dark Lover: The Life and Death of Rudolph Valentino. New York: Farrar, Straus and Giroux, 2003.
Wintle, Sara. “The Sheik: What Can Be Made of a Daydream.” Women: A Cultural Review, 7, no. 3 (1996): 291–302.